The National Gallery Review April 2005 to March 2006 Published by order of the Trustees of the National Gallery London 2006

Contents The National Gallery Review ......................................................................................................... 1 The National Gallery Role and Objectives .................................................................................... 3

Role.............................................................................................................................................. 3 Objectives .................................................................................................................................... 3

Trustees’ Introduction.................................................................................................................... 4 Director’s Review of the Year........................................................................................................ 6 Enhancing the Collection............................................................................................................... 8

Acquisitions ................................................................................................................................. 9 Loans to the Collection ............................................................................................................ 14

Care of the Collection .................................................................................................................. 22 Conservation of the Collection................................................................................................ 22 Scientific Research .................................................................................................................... 24

Access to the Collection ............................................................................................................... 26 Exhibitions 2005–2006.............................................................................................................. 26 Research and Publications 2005–6........................................................................................... 30 Learning for All......................................................................................................................... 37 Welcoming Visitors................................................................................................................... 38

A National and International Leader.......................................................................................... 39 National and International Role.............................................................................................. 39

Private Funding of the Gallery .................................................................................................... 59 East Wing Project...................................................................................................................... 61 Corporate Membership ............................................................................................................ 62

Financial Information................................................................................................................... 70 Five Year Summary ................................................................................................................... 70 Annual average income (2001/2 - 2005/6) .............................................................................. 73 Operating expenditure 2005/6 ................................................................................................ 74

National Gallery Company Limited............................................................................................. 75 Members and Committees of the National Gallery Board........................................................ 83

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National Gallery Staff .................................................................................................................. 84

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The National Gallery Role and Objectives Role The National Gallery's collection of Western European paintings from the 13th to the 19th century is one of the richest and most comprehensive in the world. The collection belongs to the nation and it serves a wide and diverse range of visitors from the UK and overseas. The Gallery's role is to engage the public in the experience of this great collection. It is open to all, 361 days of the year, free of charge.

Objectives Enhance the collection

The Gallery aims to acquire great pictures for the collection to enhance it for future generations.

Care for the collection

The Gallery looks after the paintings in its care so that none is lost or damaged.

Access to the collection

The Gallery aims to:

maintain free admission to the collection provide access to as much as possible of the collection maintain the highest standards in display find imaginative and illuminating ways to nurture interest in the pictures among a wide and diverse public encourage high quality research with publication through a variety of media offer high standards of visitor services to the public.

A national and international leader

The Gallery aims to be a national and international leader in all its activities, working with regional museums and galleries in the UK in support of their standing and success.

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Trustees’ Introduction This year was marked by the opening of the much-needed improvements to the main Portico Entrance, the culmination of the dramatic transformation of the East Wing and the approaches to the main floor picture galleries. The pleasure of completing the first stage of the Masterplan was initially clouded by the dreadful events of last July. We paid a price for being in the heart of the capital, when our visitor numbers fell quite sharply in the aftermath of the bombings and this brought inevitable consequences for revenue from exhibitions, shops and catering facilities. Efforts to minimise the impact of this and the passage of time are now having a positive effect, and we are hopeful that recovery will continue.

What has been achieved on the east side of the building is evident. Congestion has been reduced, facilities to support visits to the main galleries are greatly improved, and we have laid the foundations for the next part of the Masterplan. We are now making an assessment of our priorities for what is to follow and, meanwhile, want to express our considerable gratitude to everyone who has worked so hard both within and outside the Gallery to help us reach this point.

The Director’s Review reveals a busy year of activity under his leadership. As always, what we do revolves around the preservation, enhancement and presentation of the collection, both as a whole and through temporary exhibitions. These, of course, also almost always feature loans from public and private collections, thus enriching the story we tell of the development of Western European painting, and arrangements for these loans are one of the most delicate and difficult parts of our activity.

People continue to visit the collection above all because the Gallery has been able to acquire over the years masterpieces of inspiring power and beauty. Although we have not to date succeeded in our attempts to acquire Titian’s Portrait of a Young Man which, until recently, had been on loan to the Gallery since 1992, while the picture remains unsold we continue to hope that it may be possible to resume negotiations in the future. It is fortunate that there are still masterpieces in private hands and that as President Roosevelt said, ‘great works of art have a way of breaking out of private ownership into public use’ but there is more often than not a high price to be paid at the point of transfer and the government seems more reluctant than ever to contribute to the cost of adding to our national collections or saving heritage items for future generations. This is not a new problem, perhaps predating by a century or two the foundation of the Gallery. According to a story which came to light again recently, the wife of the regicide, John Hutchinson, who bought a Titian which had belonged to Charles I and prevented it being sold abroad, said that he was ‘loath that the land should be disfurnished of all the rarities that were in it’.

We are more than ever grateful to the private donors who give pictures to the Gallery and for the tax settlements which, in some circumstances, encourage others to do so. We continue to press for these tax arrangements to be extended as recommended in the independent Goodison Report, commissioned by the Treasury but not acted upon. We also very much hope that the NHMF and HLF will be given the resources they need to continue still more effectively in the future their exemplary past record of helping to save great rarities for the nation.

All who enjoy the National Gallery are indebted as always to the loyal and generous supporters who continue to play a major part in funding it. This year, once again, members of the Getty family have been to the fore, contributing very substantial sums in addition to those raised from other private citizens for the transformation of the East Wing. This was done in the name of the Gallery’s greatest private benefactor, the late Sir Paul Getty, who is now commemorated, as he deserves to be, on the façade of the main building. A roll of

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honour of all the other generous contributors can be found in the Walter and Leonore Annenberg Court and on page 57 of this Review together with all those friends of the Gallery, old and new, who have helped to finance many other equally important aspects of the daily life of the Gallery. Perhaps less well known to our visitors is the existence of a

group of distinguished and exceptionally busy people, on both sides of the Atlantic, who give the Gallery the benefit of their knowledge, experience and expertise, and their time, year in, year out, to help with a wide variety of our activities. The value of their contribution is incalculable.

Finally, we would like to thank the Gallery’s staff and their colleagues in the National Gallery Company who work behind the scenes and front of house, both day and evening and, in the case of the Security department, all night. Their efforts keep the pictures and the building safe, clean and in good condition, provide the educational and ancillary services on which the public have come to depend for full enjoyment of the collection, and ensure that the Gallery remains open seven days a week, three hundred and sixty-one days a year for our millions of visitors.

Peter Scott, Chairman Jon Snow Mark Getty Ranjit Sondhi Julia Higgins Donald Moore John Kerr James Fenton John Lessore Simon Burke Nicola Normanby Mervyn King Victoria Barnsley David Ekserdjian

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Director’s Review of the Year The three acquisitions this year highlight the crucial importance of private Gallery supporters and government tax incentives when it comes to enhancing the national collection. The Huet landscape was a generous gift; the Meléndez still life was allocated to the Gallery under acceptance in lieu as a result of the testator’s expressed wish that it be given to the Gallery; and the Menzel was purchased only with help from two of the Gallery’s supporting organisations and as a result of the past generosity of Sir Paul Getty.

The July bombings cast a long shadow over the second half of the year, making it a sad and difficult time for Londoners. As might be expected, visitors stayed away from the capital if they could and were slow to return. Recovery was particularly slow at the National Gallery perhaps because of its position in Trafalgar Square. But at the time of writing and since the opening of the exhibition, Americans in Paris 1860–1900, I am happy to report that people are now returning to the Gallery and we hope, visitor figures will soon return to former levels.

The most successful exhibition of the year was Caravaggio: The Final Years. It was a daring enterprise with only sixteen works on display but was rewarded with enthusiastic reviews from the critics and unexpectedly high attendance of about 245,000, proving that this artist still has strong appeal today. Stubbs and the Horse had a very different appeal, enjoying a Royal Opening by Her Majesty The Queen, attracting sponsorship from Juddmonte Farms and unusual press coverage in such publications as Country Life, The Racing Post, Horse and Hound, The Field and Equestrio Arabia. The autumn exhibition in the Sainsbury Wing, Rubens: A Master in the Making, was a return to the Gallery’s more traditional territory, to the other side of the Channel, to the enduring effect of Italian influence on western European artistic life in the 16th and 17th centuries and to many of the same biblical themes that had inspired Caravaggio. By the end of the 19th century, the centre of artistic life had, of course, moved to France and the final exhibition of the period covered by this Review, Americans in Paris, 1860–1900, is devoted to the effect of Paris on American artists ‘in the making’ during the last four decades of that century.

The smaller exhibitions in the Sunley Room and Room One were as varied as usual and, as usual, illuminated different aspects of and approaches to the collection. The most innovative was Tom Hunter: Living in Hell and Other Stories, the first exhibition of photographs in the National Gallery. The relationship between photographs and paintings has fascinated people since the camera was invented and Tom Hunter’s work, his use of colour and compositions based on pictures in the Gallery, is a new chapter in that story. The Stuff of Life explored the significance of objects in pictures and spanned the centuries from 16th- and 17th-century Dutch and Spanish still life to the most up-to-theminute contemporary work, the vanitas A Little Death DVD on plasma screen by Sam Taylor-Wood. Reunions brought back together pictures on panel that had been divided for centuries.

The National Heritage Memorial Fund has given crucial support to the Gallery since it was set up in 1980 as a memorial to those who gave their lives for this country in war, and the Gallery was delighted to celebrate its quarter century with a small display of pictures acquired with their help, among them Claude’s ‘The Enchanted Castle’, one of the most famous and most loved pictures in the collection. Many more such masterpieces would find their way into British public collections if more money was available to the NHMF for acquisition funding.

When three years ago, the new owner of Rubens’s tour de force, The Massacre of the Innocents, generously placed it on loan at the Gallery, it provided an opportunity to explore this period of the artist’s development through a small display including other loans from the same period within the normal hang in the Rubens gallery. This year, this experiment

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was repeated and developed with a loan from the V&A of fourteen masterpieces of sculptural relief with direct links to early Renaissance paintings in the Sainsbury Wing. This has enabled visitors to explore the often close relationship between painting and sculpture and their practitioners in the 15th and 16th centuries. The Gallery is most grateful for these loans and for all the others from generous lenders everywhere that have enlivened the display in the past year and have cast new light on the artists and their development.

Turning from pictures to the building in which they are housed and displayed, the East Wing project was completed last autumn with the main Portico reopening in September. For the first time in its history, the building’s identity was made public on the fabric of the building itself when ‘The National Gallery’ was engraved and gilded on the frieze below the pediment. The restoration of the original schemes by Sir John Taylor and John D. Crace for the dome and the staircase hall, further adorned by a constant supply of fresh flowers thanks to an anonymous benefactor, has proved popular and the Portico Entrance quickly became again the first choice for visitors. Also welcome has been the new espresso bar and ArtStart multimedia centre in the Lower Hall where visitors can refresh, educate and entertain themselves both before and after their visit with a cup of coffee and touch-screens on which to browse through the collection and related information.

The Gallery’s educational and outreach activities have continued apace and cast their net wider than ever. Lunchtime talks, courses of all kinds, lectures, study mornings and conferences have been joined by workshops and special events designed to appeal to the widest possible range of audiences. The links with other arts have been thoroughly explored through film seasons, drawing sessions, sculpture and poetry workshops and, with the support of the Arts Council, an architecture trail to mark Architecture Week. Contemporary artists have come into the Gallery to teach, to take part in public discussions and work among the pictures. The relevance of the collection to contemporary art and artists was vividly illustrated by John Virtue: London Paintings, one of which remained hanging in the Walter and Leonore Annenberg Court after his exhibition of March to June 2005 closed. Other reminders remain permanently in the Gallery such as Crivelli’s Garden by Paula Rego hanging in the refurbished Sainsbury Wing restaurant, now called ‘The National Dining Rooms’ and under new management; and the sketches by Frank Auerbach, based on works in the Gallery’s collection, which can be found in the recently opened Lower Hall. More, and more varied, information on the collection has been made more easily accessible not only within the building in the two ArtStart centres but also on the Gallery website which was host to over 6 million visits in 2005, a 38% increase on the year before.

The Gallery has also been actively pursuing its national and international role this year. Our partnership with Bristol‘s Museums, Galleries & Archive Service and Tyne & Wear Museums is flourishing with the touring partnership exhibition programme continuing with Stuff of Life followed by Passion for Paint. The Gallery continues to support the National Inventory scheme and the Neil MacGregor Scholars as they carry on their research into paintings in regional collections. Major loan exhibitions help to forge links with art museums and institutions all over the world and colleagues travel frequently between them. This year, the Gallery has welcomed speakers and lecturers from the University of Malta, The Metropolitan Museum in New York, the Kimbell Art Museum, the National Gallery of Art in Washington DC, and the Rubens House in Antwerp to name but a few. We have maintained our special relationship with the Prado and the Van Gogh Museum and in the case of the latter feel confident that this friendship will continue as for the second time one of the Gallery’s curators, this time of Dutch paintings, leaves us to become its new Director. The full benefits of our partnership with the Prado should become evident towards the end of 2006 with the opening of the Velázquez exhibition.

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Enhancing the Collection With three new acquisitions and a number of new loans the Gallery has this year considerably enhanced both the early Renaissance and the 19th-century galleries, as well as strengthening the collection of Spanish paintings.

For many years the Gallery has wished to acquire a great work by the leading 19th-century German realist painter Adolph Menzel, part of a long-standing strategy to increase the representation of German painting in the Gallery in both the Renaissance and the 19th-century collections. Following the acquisition of Winter Landscape by the great Romantic painter Caspar David Friedrich in 1987, the Gallery was able to purchase Ruth in Boaz’s Field by Julius Schnorr von Carolsfeld in 1998. Both these small paintings hang in Room 42. This year’s acquisition, Adolph Menzel’s Afternoon in the Tuileries Gardens, painted in 1867, is a work on a larger scale, and shows Menzel’s considerable compositional powers as well as demonstrating numerous rewarding passages of closely observed details. It is an especially appropriate acquisition for the Gallery, since it was almost certainly inspired by Manet’s Music in the Tuileries Gardens of 1862 (part of the Lane Bequest of 1917). When neither painting is on loan outside the Gallery, they can be seen hanging in close proximity to each other. The Menzel was purchased with the aid of a grant from the American Friends of the National Gallery as well as with the generous support of the George Beaumont Group.

In recent years the Gallery has also expanded its collection of 19th-century oil sketches, showing these alongside the rich and varied examples of the genre that have generously been loaned to the Gallery from the Gere Collection. John Lishawa has generously donated Paul Huet’s Trees in the Park at Saint-Cloud of about 1820 in memory of Kate Lishawa. This is the first work by Huet to enter the Gallery’s collection, although he is thought to have contributed the landscape background to the Gallery’s portrait of Louis-August Schwiter by Delacroix, whose friend he was. Huet, one of the leading landscape painters of 19thcentury France, greatly admired Constable, whose Hay Wain won the gold medal at the Paris Salon in 1824 and was acquired by the Gallery in 1886. Interested visitors now have the opportunity to take the short walk from Room 34 to Room 41, where the Huet hangs, to compare the two artists’ vivid treatment of groups of trees.

The Gallery’s third acquisition this year, the arresting Sti Life with Lemons and Oranges by the 18th-century Spanish still-life painter Luis Meléndez, was accepted by HM Government in lieu of inheritance tax and allocated to the National Gallery; it had formed part of the collection of Sir James Colyer-Fergusson, who expressed the wish that it form part of the Gallery’s collection. It is the second work by Meléndez to enter the Gallery’s collection: the popular Still L fe with Oranges and Walnuts was purchased in 1986. Many visitors to the Gallery first became aware of the beauty and range of Spanish still-life painting during the hugely popular Spanish Still L fe exhibition staged by the Gallery in 1995. The Acceptance-in-Lieu scheme has been of enormous benefit to the Gallery in adding many pictures of importance to the collection, most recently works by Ludovico Carracci and Cimabue.

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New loans to the 19th-century collection included Mary Cassatt’s Lydia crocheting in the Garden at Marly, complementing both Americans in Paris, the Sainsbury Wing exhibition, and the smaller monographic exhibition of prints by Mary Cassatt in Room 1. The new loan in the annual exchange between the Gallery and the Van Gogh Museum in Amsterdam was The Man with the Puffy Face, evidently a study of one of the artist’s fellow patients in the mental hospital he entered in 1889. The Rubens exhibition which took place in the Sainsbury Wing in autumn 2005 was complemented by a display of paintings in Room 29, which included generous loans of additional paintings by the artist including The Recognition of Philopoemon, from the Prado and from the Staatsgalerie im Neuen Schloss Munich, The Capture of Samson.

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The Early Renaissance galleries in the Sainsbury Wing have taken on a new aspect this year as a result of the loan from the Victoria and Albert Museum of fourteen sculptural reliefs, generously supported by Jonathan and Ute Kagan through the AFNGL and by Daniel Katz Ltd. The juxtaposition of the reliefs with 14th- and 16th-century paintings from Italy and Germany has allowed a number of arresting pairings, throwing particular light on the close relationships between sculpture and painting in 15th-century Italy. Thus, for example, Donatello’s moving Dead Christ tended by Angels became an important source for painters presenting the same subject in Northern Italy, as its display in Room 62 alongside a painting of the same subject by Marco Zoppo readily demonstrates; the Gallery’s Dead Christ supported by Two Angel by Carlo Crivelli similarly shows Donatello’s influence. Further juxtapositions between Donatello and his Florentine contemporary Masaccio, between works by the painter and medallist Pisanello and between Mantegna and works by the sculptors Antico and Antonio Lombardo in Room 61 also demonstrate the response of sculptors to pictorial effects.

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In Room 65 a small smiling Virgin and Child by the Augsburg sculptor Gregor Erhart accompanies other near-contemporary South German paintings of the Virgin and Child. The reliefs and medals will return to the Victoria and Albert Museum for display in their new Medieval and Renaissance Galleries, opening in 2009. These loans are joined by the generous loan from a private collection of The Ascension by Michel Sittow. Displayed in Room 63, it partners the Galley’s Christ Appearing to the Virgin by Juan de Flandes, both part of a series of 47 devotional panels painted for Queen Isabella of Castile. We are greatly indebted to the generosity of all our lenders, both new and those of longer standing.

Acquisitions Luis Meléndez, 1716–1780 Still L fe with Lemons and Oranges, 1760s Oil on canvas, 48 x 35.5 cm Signed on the edge of the table at right: LM NG6602 (Accepted by HM Government in lieu of Inheritance Tax and allocated to the National Gallery, 2005)

Little known outside Spain before the mid-20th century, Luis de Meléndez is today recognised as one of the great still life painters of European painting. His works are characterised by a distinct combination of simplicity and intense realism that updated and enriched the austere tradition of Spanish still life initiated by Juan Sánchez Cotán (1560-1627) and Francisco de Zurbarán (1598-1664). Meléndez’s paintings portray ordinary things – fruit, vegetables, meat, fish, poultry, crockery, wooden boxes and earthenware dishes – on kitchen tables, in artful compositions of great sophistication. Crisp lighting brings out the volumes of the objects, allowing the eye to range pleasurably over their textures and colours, and this richness is often further enhanced by a dark background.

Meléndez did not take up still life painting until rather late in his career, around 1759, when he dated Still life with Apples and Walnuts (Madrid, Museo del Prado). Still Life with Lemons and Oranges can be dated to the 1760s from its upright composition with objects filling the picture plane and its darker, musky quality. Because so few of his works are datable, it is difficult to be more specific about the time it was made.

As with many still-life painters, Meléndez often made use of the same objects, though he did not repeat himself and none of his compositions appears formulaic. Still L fe with Lemons and Oranges contains many of the same elements as Still Life with Oranges and Walnuts (NG6505), bought by the National Gallery in 1986: oranges, a melon, an earthenware jar with a paper cover, as well as round boxes that usually contain jelly of one form or another. This work, dated 1772, shows Meléndez developing toward more airy compositional treatments in which objects vividly define space.

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While Meléndez’s still-life paintings can be appreciated for their abstract, aesthetic beauty, they are also illustrations of the typical foods produced and consumed in 18th-century Spain. Citizens of Madrid ate what was in season, preserving fish and preparing conserves and jams for the winter. Contemporary recipe books such as Juan de la Mata’s Arte de repostería, published in 1755, provide guidance on how to make the best use of the ‘fruits of the Earth’ month by month. In this painting, the wooden boxes might contain quince jelly and dried fish, ready for the winter. The nuts and fruit, particularly the watermellon, suggest that the artist might have been trying to evoke an autumnal moment, the last of summer and the first of winter.

Provenance

Private collection, England (‘bought in Spain before ca. 1885, by the grandfather of the present owner’ according to the following sales catalogue); sold Sotheby’s, London, 6 April 1977, lot 19; Colnaghi, London; bought by Sir James Colyer-Fergusson in 1979; accepted by HM Government in lieu of inheritance tax and allocated to the National Gallery, 2005.

A note on the provenance: In January 1986, Sir James Colyer-Fergusson wrote to the Gallery’s Director expressing his intention to leave his painting to the Nation because the artist was not represented in a British public collection. After the Gallery purchased Meléndez’s Still Life with Oranges and Walnuts (NG6505), Sir James visited the Gallery to see it, thinking that he would leave his painting to another institution. He immediately realized that the two paintings would complement each other and demonstrate the artist’s development and compositional methods. The two paintings can now be enjoyed together in Room 39 as Sir James wished.

References

R. Verdi, ‘Old master exhibitions’, The Burlington Magazine, CXXI, 1979, p. 539, fig. 95; J. Held, C. Klemm, et. al., S illeben in Europa, exh. Cat., Münster, 1979, p. 400, no. 211; E. Tufts, ‘Luis Meléndez: still-life painter sans pareil’, Gazette des Beaux-Arts, 100, 1982, pp. 143–66; E. Tufts, Luis Meléndez: Eighteenth-Century Master of the Spanish Still L fe, with a Catalogue Raisonné, Columbia 1985, p. 97, no. 68; D. Garstang, Art, Commerce, Scholarship: A Window onto the Art World, exh. cat., London, 1984, pp. 140–1, no. 36.; M. Helston, Painting in Spain during the later eighteenth centu y, exh. cat., National Gallery, London, 1989, no. 20, p. 76.

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Exhibitions

Old Master Paintings and Drawings, P&D. Colnalghi & Co., 19th June–3rd August, London, 1979, no. 41; Stilleben in Europa, Westfalisches Landesmuseum fur Kunst und Kulturgeschichte, Münster & Staatliche Kunsthalle, Baden-Baden, 1979–80, no. 211; Art, Commerce, Scholarship: A Window onto the Art World, London, 1984, no. 36; Painting in Spain during the later eighteenth century, National Gallery, London, 1989, no. 20, p. 76.

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Paul Huet, 1803–1869 Trees in the Park at Saint-Cloud, about 1820 Oil on canvas, 37.5 x 55 cm Inscribed on verso: Octobre – Parc de Saint-Cloud NG 6603 Gift of the Lishawa Family in memory of Kate (Lishawa)

Paul Huet was a leading landscape painter of the French Romantic era. He played a central role in the 1820s in the growing French appreciation of contemporary British landscape painting, and of such artists as John Constable. He was also a friend and travelling companion of Richard Parkes Bonington. Huet’s importance for artistic relations between Britain and France was underscored by the inclusion of eight of his works in Tate Britain’s major exhibition Constab e to Delacro x: British Art and the French Romantics (2003). l i

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From student days, Huet was interested in painting out of doors in front of the motif. As a student of Baron Gros at the Ecole des Beaux-Arts in Paris between 1819 and 1822, he often travelled to the old royal domain of Saint-Cloud to the south-west of the city to make landscape oil sketches of the magnificent stands of trees there. Indeed, he described the park as ‘this enchanted site … whose every bush I knew, where I cried for every tree cut down, as I would for a lost friend.’ The present work, in excellent condition on its original stretcher, the canvas unlined, is one such tree study executed, as an inscription on the reverse tells us, on an October day of an unidentified year. Others in the series are found at the Musée du Petit-Palais, Paris, and the Museum of Fine Arts, Boston. Swiftly and with masterly control of his thickly-loaded brush, the artist suggests a sense of space and ambient atmosphere; indeed he seems to capture a mood of restlessness as autumn breezes rustle leaves. Through the trees at left, the jet of a fountain at a rond-point deep in the park can just be made out shooting skyward. Huet’s use of multiple tones of green to suggest varieties of foliage is characteristic of the series as well. He left the sketch unfinished on the right side of the canvas; having captured the motif to his satisfaction, he quickly moved on, probably to take up another such sketch as he wandered among the trees he loved.

The painting is the gift of the distinguished connoisseur of the landscape oil sketch, John Lishawa, and his family. It is an important addition to the National Gallery’s growing collection of landscape oil sketches, including most importantly the Gere Collection, a promised gift on long-term loan. While this is the first oil sketch by the artist to enter the collection, it may be the second example of his work here. An early scholar of Eugène Delacroix stated that the landscape background of his Portrait o Baron Schwiter of 1826 (NG 3286) was in fact the work of his great friend Huet. Lee Johnson, author of the Delacroix catalogue raisonné, agrees that this is likely both on stylistic grounds and given young Delacroix’s professed problems with landscape and acknowledged reliance on artist friends for help.

Provenance

Collection Perret-Carnot, France (the Huet Family, by descent); Galerie Fischer-Keiner, Paris by May 1993; acquired there by John Lishawa, London, in May 1993; presented to the National Gallery, 2005.

References

The Romantic Prospect: Plein-air Painters 1780–1850 (Exh. Cat.) Shizuoka, Japan, Sydney and Melbourne, Australia, 2004, no. 48, catalogue entry by Charlotte Gere, illus. in colour; to be included in the forthcoming catalogue raisonné Paul Huet by Elizabeth Marechaux Laurentin (Ref. archives 9415).

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Adolph Menzel, 1815–1905 Afternoon in the Tuileries Gardens, 1867 Oil on canvas, 49 x 70 cm Signed and dated lower right: Adolph Menzel Berl. 1867 NG 6604 Purchased with the aid of grants from The American Friends of the National Gallery, London, and the George Beaumont Group, 2006

Adolph Menzel was the leading German artist of the second half of the 19th century, famous for his skill at capturing visual phenomena with pen and brush. Active first as a printmaker, he turned to oil painting after the age of thirty. In his own lifetime, he was most famous for imaginary depictions of the 18thcentury Prussian monarch Frederick the Great and his court. Early in the 20th century, when they were first exhibited, his oil sketches of the 1840s revealed that he had anticipated some of the effects of French Impressionism twenty years in advance. The minutely-detailed images, crowded with incident, that he began to paint in the late 1860s, of which the present canvas is an early example, established him as a penetrating chronicler of modern life in his adopted city, Berlin, and abroad.

Menzel always kept an eye on artistic developments in Paris. He travelled there for nine weeks in 1867 at the time of a Universal Exposition where he pored over the vast quantities of art on show, and received the Légion d’honneur. On the periphery of the fairgrounds that year, two leading dissidents, Gustave Courbet and Edouard Manet, each mounted independent retrospectives of their work. It was there that Menzel, who was indefatigable in seeking out new art, would have seen Manet’s Music in the Tuileries Gardens of 1862 (NG 3260). Upon his return to Berlin he painted Afternoon in the Tuileries Gardens, in part, early critics surmised, as a response to that provocative painting. Like Manet, Menzel depicts a heterogeneous crowd gathered under the trees, enjoying themselves in the park at the heart of Paris. Indeed, certain figures like the man in a top hat to the right of centre, seem to be quotations from Manet’s painting. The spirit of the work is markedly different, however, and full of anecdote. Menzel was a realist painter who, in keeping with academic tradition, varied his touch across the canvas. Foreground figures are minutely rendered, figures in the middle distance more freely painted in an Impressionist manner, while the furthest details are rendered with a few deft flicks of the brush. Nonetheless, Menzel invests even the most distant and indistinct figures and motifs with character and animation. He first exhibited the painting in Berlin in 1868 under the title Sunday in the Tuileries Gardens, from Memory. He underlined the point by adding an abbreviation for Berlin after his signature at lower right, and the point about memory was crucial to him. As acute as his skills in observation were, for the German painter the highest achievements of art resulted from reflection. Back in the studio, he was free to pick and choose from among the motifs he had observed and, through the use of memory as an editing tool, to construct a ‘true’ representation of modern life not in the sense of a snapshot but as a considered compilation of expressive details. This picture, the most important painting by the artist outside Germany, is a reminder that, in the later 19th century, there was more than one way to make art that answered Baudelaire’s challenge to engage fully with modern life.

The painting was acquired in 1935 by the Galerie Neue Meister of the Staatliche Kunstsammlungen Dresden from the family of the Jewish banker from Berlin, Fritz Meyer, who had purchased it from Menzel himself in 1868. After protracted negotiations, in mid-2005 the German Ministry of Justice acknowledged that the 1935 sale had been forced and the painting was restituted to Meyer’s descendants.

Provenance

Fritz Meyer, Berlin, 1868; Mrs Fritz Meyer, Berlin, 1885; Elika Meyer, Berlin, 1905; Richard Moritz Meyer and Estella Meyer (nee Goldschmidt), Berlin, 1914; Dresden, Staatliche Kunstsammlungen, Galerie Neue Meister (Inv. No. 2442A), 1935; returned to Meyer Family,

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2005; Dr. Alfred Bader, Milwaukee, WI, represented by the Galerie Arnoldi-Livie, Munich, from whom purchased by the National Gallery, 2006.

Exhibited

Berlin, Berlin, Königliche Akademie der Kunst,1868, no. 487; Paris, Pavillon de la Ville de Paris, Exposition des oeuvres d’Adolph Menzel, 1885, no. 229; Berlin, Galerie Thannhauser, Adolph von Menzel, 1928, no. 38; Berlin (East), Nationalgalerie, Adolph von Menzel, 1980, no. XXVI; Paris, Musée d’Orsay, Washington, National Gallery of Art, Berlin, Alte Nationalgalerie, Adolph Menzel, 1996–97, cat. no. 123; Dresden, Staatliche Kunstsammlungen, Menzel in Dresden, 2005.

Selected References

Die Dioskuren, 1868, p. 331; Louise Gonse, ‘Exposition Adolph Menzel,’ Gazette des Beaux-Arts, 1885, pp. 520 and 522; Max Jordan, Adolph von Menzel, Berlin, 1890, P. 63, pl. 56 (later editions of 1895 and 1905); Julius Meier-Graefe, Adolph von Menzel, Berlin, 1905, p. 240, repr.; Hugo von Tschudi, Adolph von Menzel, Berlin, 1905, no. 129; Emil Waldmann, Der Maler Adolph Menzel, Vienna, 1941, pp. 35, 48, pl. 66; Wolfgang Hütt, Adolph Menze , Leipzig, 1981, pl. 89–91; Jens Chr. Jensen, Adolph von Menzel, Cologne, 1982, p. 100, pl. 27; Michael Fried, Menzel’s Realism, New Haven & London, 2002, p. 147; Staatliche Kunstsammlungen Dresden: Galerie Neue Meister, Berlin, 2003, pp. 134–135.

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Loans to the Collection Vincent Van Gogh, 1853–1890 The Man with the Puffy Face, 1889 Oil on canvas, 56 x 36 cm. L1008. On loan from the Van Gogh Museum Amsterdam (Vincent Van Gogh Foundation)

Mary Cassatt, 1844–1926 Lydia crocheting in the Garden at Marly, 1880 Oil on canvas, 65.6 x 92.6 cm. L1029. On loan from The Metropolitan Museum of Art, New York. Gift of Mrs. Gardner Cassatt, 1965

Francesco Guardi, 1712–1793 Villa del Timpano Arcuato at Paese, about 1782 Oil on canvas, 48 x 78.5 cm. L1005. On loan from a Private Collection

Camille Pissarro, 1830–1903 Père Melon sawing Wood, Pontoise, 1879 Oil on canvas, 89 x 116.2 cm. L1006. On loan from a Private Collection

Roelandt Savery, 1576–1639 The Temptation of Saint Anthony, 1617 Oil on panel, 49.1 x 94 cm. L1007. On loan from a Private Collection

Francesco Hayez, 1791–1881 Susanna at her Bath, 1850 Oil on canvas, 138 x 122 cm. L1009. On loan from a Private Collection

Claude-Oscar Monet, 1840–1926 The Grand Canal, Venice, 1908 Oil on canvas, 73.5 x 92.5 cm. L1027. On loan from a Private Collection

Paul Signac, 1863–1935 Les Andelys, the Washerwomen, 1886 Oil on canvas, 60 x 92 cm. L1028. On loan from a Private Collection

Loans of Renaissance sculpture from the Victoria and Albert Museum While the Victoria and Albert Museum is preparing new Medieval and Renaissance Galleries, a group of 14 sculptural reliefs have been generously lent to the National Gallery and are on display among the 14th- and 15th-century paintings in the Sainsbury Wing.

The reliefs, which date from the 14th to 16th centuries and include bronzes, marbles, stone and medals, are by celebrated artists such as Donatello, Pisanello, Antico and Agostino di Duccio. They offer the opportunity to explore the often-complicated relationship between sculpture and painting in Renaissance Italy and beyond.

From the 13th century onwards, Italian painters routinely used sculptures as sources for their paintings. Not only were they easier to work from than a real person draped in clothing, but

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they had the added advantage of being composed like a painting rather than being fully three-dimensional statues. The placing of the reliefs within the National Gallery’s collection allows close examination of how these works influenced painters such as Giotto, Masaccio, Giovanni Bellini, Marco Zoppo and Carlo Crivelli – and how, in turn, a painter such as Mantegna influenced the sculptors, Antico and Antonio Lombardo.

Donatello was probably the most influential artist of 15thcentury Italy. By juxtaposing his Dead Christ tended by Angels (about 1435–43) with paintings of the Dead Christ by Zoppo and Schiavone (Room 62), we can clearly see how Donatello’s anatomies and agonised expressions became an important source for painters tackling the same subject. In a different way, Donatello’s sense of volume was immensely important for Masaccio. Donatello’s shallow relief of the Virgin and Child with Saints and Musician Angels (about 1425–32) has been hung next to Masaccio’s painting of the Virgin and Child (Room 54), which both emphasises the powerful sculptural presence of Masaccio’s figures, but also shows how – particularly when using shallow relief – Donatello tried to imitate pictorial effects, even using perspective and foreshortening.

Conversely, in Room 61 the sculptural relief of Philoctetes on the Island of Lemnos by Antonio Lombardo (1510–15), took its inspiration from two paintings by Mantegna that hang nearby: The Vestal Virgin Tuccia with a Sieve and A Woman Drinking (both, 1495–1506). This relief was part of a series featuring ancient myths that Lombardo produced for the Duke of Ferrara. Mantegna created the paintings for the Duke’s sister, Isabella. By inserting a piece of coloured marble, Antonio Lombardo was competitively responding to Mantegna’s paintings, which were intended to simulate gilt bronze. The reliefs and medals will return to the V&A in time for the opening of their new Medieval and Renaissance Galleries in 2009.

Donatello and workshop, about 1386–1466 V rgin and Child with Saints and Musician Angels, about 1425–32 Painted cast stucco in original gilded and painted frame,40.6 x 30.5 cm. L1010. Dead Christ tended by Angels, about 1435–43 Marble, 80.6 x 114.3 cm. L1022.

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Agostino di Duccio, 1418–1481 Virgin and Child with Angels, about 1454 Marble, 55.9 x 47.9 cm. L1011.

Andrea della Robbia and workshop, 1435–1525 Virgin and Child, about 1475 Glazed terracotta, 121.9 x 73.7 cm. L1012.

Antico (Piero Jacopo Bonacolsi), about 1460–1528 The Infant Hercules and the Serpents, about 1480–5 Cast bronze, 32.7 x 32.7 cm. L1013. Hercules and the Erymanthean Boar, about 1495–1500 Cast bronze, 32.7 x 32.7 cm. L1014.

Antonio Lombardo, about 1458–1516 Philoctetes, about 1510–15 White marble with red and purplish grey breccia marble inlay, 41.3 x 24.8 cm. L1015.

Pisanello, about 1394?–1455 Portrait medal of John VII Palaeologus, Emperor of Constantinople, about 1439–42 Cast bronze, 10.4 x 10.4 cm. L1016. Two portrait medals of Domen co Novello Malatesta, about 1452 Cast bronze, 8.5 x 8.5 cm and 8.6 x 8.6 cm. L1017 and L1018

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Gregor Erhart, about 1465–1540 The V rgin and Child, about 1520 Solnofen limestone, 43.3 x 31.7 x 4.4 cm. L1019.

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Tino da Camaino, about 1285–1337 Two reliefs: Angel holding a Curtain, about 1321 Both marble, 63.5 cm. L1020 and L1021.

Loans to the National Gallery The following pictures were at the National Gallery on loan between April 2005 and March 2006 * Pictures returned

Her Majesty The Queen Workshop of Fra Angelico Blessing Redeemer Gentile da Fabriano The Madonna and Child with Angels (‘The Quaratesi Madonna’) Gossaert Adam and Eve Pesellino Saints James the Great and Mamas (Framed with Pesellino The Trinity with Saints NG727, NG3162, 3230 and 4428) Leighton Cimabue's Celebrated Madonna is carried in Process on through the Streets oFlorence

The Trustees of the Abercorn Heirlooms Settlement Parmigianino Cardinal Lorenzo Pucci

The Warden and Fellows of All Souls College Mengs Noli me tangere

Andrew Brownsword Art Foundation Sisley View of the Thames: Charing Cross Bridge

Samuel Courtauld Trust, Courtauld Institute of Art Gallery, London Rubens The Conversion of Saint Paul* Rubens Cain Slaying Abel* Rubens The Descent from the Cross* Rubens Moses and the Brazen Serpent*

Dunrobin Castle Collection Lo Spagna Christ Carrying the Cross

The Gere Collection Bertin View of the Gorge at Civita Castellana Attributed to Bidauld Buildings by a Weir in a Mountainous Valley Blechen The Capuchin Convent at Amalfi Böcklin A Cliff Face Boldini In the Garden British School Vil a and Town Buildings on a Hill with Roman Remains Buerkel Distant View of Rome with the Baths of Caracalla in the Foreground Buttura A Road in the Roman Campagna Camuccini Landscape with Trees and Rocks Camuccini A Fallen Tree Trunk Camuccini Ariccia Cels Sky Study with Birds Closson Antique Ruins (the Baths at Caracalla?) Closson The Cascade at Tivoli Attributed to Coignet River Landscape Attributed to Constantin Bridge at Subiaco Attributed to Corot Staircase in the Entrance to the Villa of Maecenas at Tivoli

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Costa After a Shower, near Pisa Costa Por o d'Anzio t

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Danby A Boat-Builder's Yard Degas Promenade beside the Sea Denis View of the Cascades at Tivoli Denis A Torrent at TivoliAttributed to Desportes Study of Two Trees Dunouy Panoramic View of the Bay of Naples Fearnley Coast-scene, possibly Capri Fleury View in the Villa Borghese: The Casino del Muro Torto and the Aqueduct of Acqua Felice French School Panoramic Landscape with a Farmhouse French School The Temple of the Sibyl at Tivoli seen from the Gorge French School? Ruins with Workmen French School? View looking into the Val de Vil é in the Vosges, France Gauffier Cliffs at Vicovaro German School A Rustic House by the Sea Giroux Ruins on the Palatine Gourlier Acqua Acetosa Attributed to Granet View of the Falls at Tivoli Guillaumet Mountains in North Africa, with Bedouin Camp Attributed to Haes View of Madrid Attributed to Heinrich Landscape with Figures bathing Joinville A Distant View of Tivoli Jones The Grotto of Posillipo Jones Landscape with a Distant View of the Sea (Wales or Italy) Kerrich Distant View of Lowestof from the SouthKnip Green Mountains Kolle A Courtyard in Rome Leighton of Stretton Archway on the Palatine Leighton of Stretton Coastal Landscape Leighton of Stretton Houses in Capri Leighton of Stretton Houses in Venice Leighton of Stretton An Outcrop in the Campagna Leighton of Stretton View in Capri Leighton of Stretton A View in Spain Leighton of Stretton The Villa Malta, Rome Mason The V lla Borghese Michallon A Torrent in a Rocky GorgeMichallon A Tree Nittis Winter Landscape Pitloo View of the Aventine Hill from the Palatine Pitloo Vines at Báia Reinagle Mountainous Landscape with Ruins and Buildings Reinagle Rome: Part of the Aurelian Wall (the Muro Torto) with the Villa Ludovisi beyond Reinagle A Trout Stream Attributed to Rosa Wooded Bank with Figures Schelfhout Landscape with Cumulus Clouds Valenciennes Cow-sheds and Houses on the Palatine Hill Valenciennes Rome at Sunrise, from the Janiculum Wallis Rocks, Tree Trunks and BranchesWals The Walls of Rome Warren The Crystal Palace, from Penge

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The Government Art Collection Gabrielli National Gallery 1886, Interior of Room 32

Graff Diamonds Ltd Pissarro Portrait of Cézanne

Trustees of the Halifax Collection Titian Portrait of a Young Man*

Sir Andrew Lloyd Webber Art Foundation Picasso Portrait of Angel Fernandez de Soto*

The Loyd Collection Corot The Four Times of Day: Evening

Corot The Four Times of Day: Morning Corot The Four Times of Day: Night Corot The Four Times of Day: Noon

Sir Denis Mahon CBE FBA Assereto The Angel appears to Hagar and Ishmael Carracci The Agony in the Garden Castello The Virgin and Child with Saint John the Baptist Crespi Peasants with Donkeys Crespi Musicians Creti Artemisia drinking the Ashes of Mausolus Domenichino Landscape with a Fortified Town Giordano Allegory of Divine Wisdom Giordano Allegory of Fortitude Giordano Allegory of Justice Giordano Allegory of Prudence Giordano Allegory of Temperance Giordano Apotheosis of the Medici Giordano The Cave of Eternity Giordano Minerva as Protectress of the Arts and Science Giordano Mythological Scene of Agriculture Giordano Mythological Scene with the Rape of Proserpine Guercino The Angel appears to Hagar and Ishmael Guercino The Cumaean Sibyl with a Putto Guercino Elijah fed by Ravens Guercino Saint Gregory the Great with Saints Ignatius Loyola and Francis Xavier Guercino The Presentation of Jesus in the Temple Lingelbach Roman Street Scene with Card Players Liss The Fall of Phaeton Reni The Rape of Europa Rosa Landscape with Travellers asking the Way Schedoni The Holy Family with the Virgin teaching the Child to Read Stom Salome receiving the Head of John the Baptist

Mauritshuis, The Hague De Gelder Judah and Tamar

Metropolitan Museum of Art, New York. Gift of Mrs. Gardner Cassatt, 1965 Cassatt Lydia crocheting in the Garden at Marly

Museo Nacional Del Prado, Madrid Rubens The Recognition of Philopoemen*

In celebration of the life of Sir Anthony Meyer, Bart

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Sargent Mrs Carl Meyer and her Children*

National Portrait Gallery Lawrence Portrait of Lord Liverpool

Rijksmuseum, Amsterdam Carracci Saint Francis receiving the Christ Child from the Virgin Post Landscape in Brazil Tetrode Hercules Pomarius* Tetrode Strid ng Warrior or Deity* i

Veronese Portrait of Daniele Barbaro

The Duke of Rutland’s Trustees Poussin Confirmation Poussin Eucharist Poussin Extreme Unction Poussin Marriage Poussin Ordination

The Vicar and Churchwardens, St Martin-in-the-Fields Church, London Solimena Saint Martin sharing his Cloak with the Beggar

The Society of Antiquaries of London Simone dei Crocefissi Dream of the Virgin

Staatsgalerie im Neuen Schloss Schleissheim, Munich Rubens The Capture of Samson*

Statens Museum for Kunst, Copenhagen Master of the Palazzo Venezia Madonna Saint Corona* Master of the Palazzo Venezia Madonna Saint Victor of Siena*

Tate (On loan as part of the Tate/National Gallery Exchange) Anquetin Two Studies for `The Three Graces' Béraud After the Misdeed Blanche Francis Poictevin Bock Woudrichem Browne A Greek Captive Carrière Head of a Child (Jean-René Carrière?) Carrière Winding Wool Cazin Evening Cazin Ulysses after the Shipwreck Cézanne The Avenue at the Jas de Bouffan* Charnay Park of Sansac (Indre-et-Loire) Degas Carlo Pellegrini* Degas Head of a WomanDegas Head of a WomanFantin-Latour The Judgement of Paris Fantin-Latour Mr and Mrs Edwin Edwards* Fantin-Latour A Plate of Apples Fantin-Latour Roses Fantin-Latour Self Portrait Forain The Tub Gauguin Faa Iheihe Gauguin Harvest: Le Pouldu Goeneutte The Boulevard de Clichy under Snow Van Gogh Farms near Auvers* Hammershøi Interior

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Henri Market at Concarneau (recto) Liebermann Memorial Service for Kaiser Friedrich at Kösen Manet Woman with a Cat Mauve Milking Time Mauve Watering Horses Monet Poplars on the Epte* Monet The Seine at Port-Villez Monet Woman Seated on a Bench Pissarro The Little Country Maid Pissarro The Pork Butcher Pissarro Portrait of Félix Pissarro Pissarro A Wool-Carder Renoir Head of a Girl Repin Study of an Old Man Seurat Le Bec du Hoc, Grandcamp Seurat Clothes on the Grass: Study for 'Bathers at Asnières' Sisley The Bridge at Sèvres Sisley The Path to the Old Ferry at By Sisley The Small Meadows in Spring Toulouse-Lautrec Emile Bernard Toulouse-Lautrec Side-Saddle Toulouse-Lautrec The Two Friends Vollon Harbour at Marseilles

Tate, London Turner The Decline of the Carthaginian Empire*

The Master Governor of Trinity Hospital Lastman The Rest on the Flight to Egypt

Van Gogh Museum Van Gogh The Man with the Puffy Face Van Gogh The Zouave*

Victoria and Albert Museum, London Agostino di Tuccio, Virgin and Child with Angels Antico, Hercules and the Erymanthean Boar Antico, The Infant Hercules and the Serpents Tino da Camaino, An Angel holding a Curtain Tino da Camaino, An Angel holding a Curtain Donatello, Virgin and Child with Saints and Musician Angels Attrib to Donatello, Dead Christ tended by Angels Erhart, The Virgin and Child Lombardo, Philoctetes Pisanello, Portrait medal of Domenico Novello Malatesta Pisanello, Portrait medal of Domenico Novello Malatesta Pisanello, Portrait medal of John VII Palaeologus, Emperor of Constantinople Della Robbia, Virgin and Child

The Earl of Verulam Petrus Christus Edward Grimston

Anonymous Loans/Private Collections Aertsen Scenes from the Life of an Unidentified Bishop Saint Albani The Rest on the Flight into Egypt Bandinelli The Massacre of the Innocents Bonnard Picnic in the Garden

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Bronzino Portrait of a Young Man Caillebotte Man at his Bath Constable Salisbury Cathedral from the Meadows Degas Portrait of Hélène Rouart* Denis Picnic at Le Pouldu Fragonard Le Verrou Gauguin The Guitar Player (Francisco Durrio) Gentileschi The Finding o Moses f

iGéricault A Sh pwreck Gossaert Virgin and Child Circle of Gossaert Triptych: The Adoration of the Kings, The Virgin and Child and The Pentecost Guardi Villa del Timpano Arcuato at Paese Hayez Susanna at her Bath Holbein Portrait of Erasmus Liotard A Lady pouring Chocolate (‘La Chocolatière’) Lorenzo Monaco The Death of Saint Benedict Master of the Judgement of Paris The Abduction of Helen Monet Le Grand Canal Monet Poplars Monet Houses of Parliament Niccolò di Pietro Gerini Adoration of the Shepherds Picasso Child with a Dove Pissarro Père Melon sawing Wood, Pontoise Rembrandt Judas Repentant, Returning the Thirty Pieces of Silver* Renoir The Artist’s Brother, Pierre-Henri Renoir* Rubens The Adoration of the Kings Rubens Apotheosis of King James I and other Studies for the Ceiling of the Banqueting House, Whitehall Rubens The Decollation of Saint John Rubens A Falconer and a Young Girl with a Basket of Fruit ('The Fig')* Rubens The Massacre of the Innocents* Rubens Portrait of Margharita Gonzaga, Princess of Mantua* Savery Flowers in a Glass Savery The Temptation of Saint Anthony Sérusier Girl from Savoy Signac Les Andelys, The Washerwomen Signac Cassis. Cap Canaille Sittow The Ascension of Christ Turner Dutch Boats in a Gale; Fishermen endeavouring to put their Fish on Board ('The Bridgewater Sea Piece') Van Gogh Two Crabs Vuillard Young Girls walking

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Care of the Collection Conservation of the Collection During the year the Department has continued to fulfil its primary responsibility for the preservation of the collection. The regular programme of inspection, dusting, checking loans to and from the Gallery, and ensuring that no damage occurs to paintings that travel has continued.

Conservation staff have contributed to the Gallery’s exhibition catalogues, the Technical Bulletin, and other publications on the collection. The space in the Conservation studios has been dominated this year by two large paintings from the collection. For different reasons the Gallery has long wanted to clean both of them.

Guido Reni’s Adoration of the Shepherds is one of his two very large scale treatments of the subject (the other is in Naples). The National Gallery’s picture, at nearly 5 metres high, is the largest in the collection. It was acquired from the Liechtenstein collection in 1957. An unfortunate accident during the process of examining the picture led to it falling on to a fence post that pierced the head of the central shepherd. After the purchase was completed and the picture shipped to London it was cleaned, lined with two canvases, restored and revarnished. The lining method used, wax resin adhesive, was the standard technique of the time. The lining was done by hand, but one of the difficulties of the method is achieving an even layer of the wax resin adhesive over the back of the painting.

Since 1958, when the restoration was completed, the painting has been hung in various positions in the Barry suite (rooms 32–40). In recent years it has occupied the central position on the north wall of room 32 (the Gallery’s largest room) so that it was visible from the Barry dome. The closure of room 32 for roof repairs has provided the opportunity to commence the conservation work which has long been necessary. The weight of the two linings has led to noticeable stress in both top corners. The varnish, rather thickly applied in 1958 and in its early years exposed to very high light levels, had discoloured to a foggy grey. This, with the irregularity of the surface, made the painting hard to appreciate. The removal of the varnish has led to a great gain in visibility. One of the two linings has been removed and the second one will soon be replaced with a minimal contemporary lining. The conservation work will continue throughout the coming year.

The immediate stimulus for cleaning Velázquez’s Philip IV hunting Wild Boar (’La Tela Real’) arose from the monographic exhibition planned for the autumn of 2006. The unfortunate history of this painting before it entered the National Gallery collection is documented in the Parliamentary Select Committee of 1853 during an exchange between Sir Charles Eastlake, the Gallery’s Director, and George Lance, a painter and picture restorer. La Tela Real, which was painted for Philip IV, and first hung in the Torre de la Parada and later in Madrid, was presented to Sir Henry Wellesley shortly after the Napoleonic Wars. Wellesley, by then Lord Cowley, consigned the La Tela Real to a restorer at some point in the 1820s. Although it will never be known exactly what disasters befell the picture, much can be deduced from its partly ruined surface. Some information is given by Eastlake to the Select Committee. Lance, who was asked to restore the La Tela Real in preference to the painters Wilkie and Landseer who were thought to be too busy, was also questioned by the Select Committee. He claimed that he found areas of blank canvas as large as a sheet of foolscap; that the whole centre of the picture was destroyed; that there were men without horses and horses without men, and that his brush had had to go over fully one half of the picture. Eastlake’s evidence stated that ‘…the Velasquez, now in the National Gallery, was very much injured long before it came into the National Gallery; I never heard this at the time it was purchased, or I should have made it known, but I know that the picture, when in the

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hands of the liner, in consequence of the iron roller being too hot, was very much injured, and portions of the picture came off in flakes; the person who had to restore the picture, whose name I have heard was Thane, was in despair; he applied to an artist now living, whose name is George Lance, to restore the picture.’

Lance’s restoration or repainting was finally removed in 1950 and the true state of the painting was then recorded. A much more sensitive restoration than Lance’s followed, striving to disguise the severe and uneven wearing which affects almost the whole surface. This restoration, and the thick varnish which was applied after it, had discoloured noticeably. As with the Reni altarpiece, the comparatively rapid discolouration was due in part to inadequate control of daylight in the two decades after the Second World War. Restoration of the La Tela Real which will be much less extensive than either that of Lance or the restoration of 1950 will be completed for the exhibition in October 2006.

Work was completed on six paintings during the year, including a 16th-century Tuscan School portrait belonging to the Wallace Collection. The Adoration of the Magi, attributed to Zanobi Strozzi, was cleaned before being lent to the Fra Ange ico exhibition at The Metropolitan Museum of Art. Two Flemish still lives were cleaned for different exhibitions. The attribution of the Still Life of Fruit and Vegetables with two Monkeys (NG1252), previously attributed to a follower of Snijders, has been changed to Jan Roos as a result of its loan to an exhibition in Genoa. Another Flemish still life (Still L fe with Fruit, Vegetables, Dead Chickens and a Lobster by Pieter Snijers) was cleaned before being lent to an exhibition devoted to asparagus; the picture depicts two large bunches of the eponymous vegetable.

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Pictures cleaned and restored in the Conservation Department Snijers A Still Life with Fruit, Vegetables, Dead Chickens and a Lobster, NG1401 Bega An Astrologer, NG1481 Roos Still L fe with F uit and Vegetables with two Monkeys, NG1252 Attributed to Zanobi Strozzi The Ado ation of the Magi, NG582 Tuscan School, Wallace Collection Corot Souvenir of a Journey to Coubron, NG2631

Other paintings treated Spinello Decorative Border NG1216.2 & 3 Piazzetta The Sacrifice of Isaac, NG3163 Italian Florentine The Virgin and Child with Two Angels, NG2508 Mantegna Illuminated Initial D, NG1417.1 Marco d’Oggiono The Virgin and Child, NG1149 Horsley Portrait of Martin Colnaghi, NG2286

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Scientific Research In environmental science the most significant advance during the year has been the development of new web-based software designed to display, in graphical form, key environmental data in the galleries and other monitored areas – specifically light levels, temperature and relative humidity – both for current conditions and historic archived data going back to 2000, at present a total of about 13 million readings. The system rapidly produces graphs and reports on any networked computer, covering periods requested by the user for single gallery rooms or groups of areas and is accessible to the Gallery’s building managers and the Conservation and Scientific Departments.

In conjunction with conservators and curators, technical examination of paintings continued on a range of projects, some connected directly with conservation treatments, others involving the acquisition of technical results for catalogues, conference presentations and other publications. Paintings studied included works by Bernardo Daddi, Girolamo da Treviso, Previtali, Raffaelino del Garbo (attributed), the Master of the Story of Griselda, Sebastiano del Piombo, Gioacchino Assereto and Meléndez. During their recent conservation treatments, a 16th-century Tuscan School Portrait was examined for the Wallace Collection and a panel by the Master of the Story of Griselda for the Barber Institute, Birmingham. The two panels depicting angels, possibly executed by Ambrogio and Evangelista de Predis, which originally flanked Leonardo’s Virgin of the Rocks were sampled and analysed in connection with continuing Leonardo research; a particular aim was to establish the extent to which original paint remains beneath later-painted grey architectural niches that now surround the angels. Technical examination continued in support of the complex cleaning and restoration of Velázquez’s Philip IV hunting Wild Boar (’La Tela Real’), and, at the same time, all other works by the painter in the National Gallery’s collection were studied analytically to provide information for the catalogue of the forthcoming Velázquez exhibition scheduled for the autumn of 2006 and for a future systematic catalogue of the Spanish School. A separate technical publication is planned.

Technical examination of paintings originating in Rembrandt’s studio, as well as some new results from the study of autograph paintings by Rembrandt, was completed for a revised and expanded edition of Art in the Making: Rembrandt, due to be published in June 2006 to mark the 400th anniversary of the painter’s birth. Research was also undertaken for a special thematic issue of the National Gallery Technical Bulletin, Volume 27, published in 2006, devoted to Sienese and Umbrian painting in the period 1490–1510. The issue includes a major interdisciplinary article on a series of panel paintings by the anonymous Sienese painter, the Master of the Story of Griselda, and his better-known contemporary associates; the work on the series was carried out in collaboration with colleagues in the conservation and scientific departments of the National Gallery of Art in Washington. Other subjects in this volume include articles on Giannicola di Paolo and his connection to the Perugino workshop, a late altarpiece of the Virgin and Child with Saints Jerome and Francis by Perugino and the unusual decorative gilding techniques devised by the Sienese painter Bernardino Fungai.

More generalised studies of traditional painting materials included work on the stability and behaviour of the blue cobalt glass pigment, smalt, the mechanism of the discoloration of vermilion and the origin and geographical distribution of malachite pigment of spherulitic particle form, which occurs in a wide range of early paintings. Further analytical work was carried out on the occurrence and characterisation of powdered glass, added probably as a drier, to oil paint in 16th-century works. The kinetics of the chemistry of lead soap formation in paintings continued as a subject of active research. Staff in the Department gave papers on several of these subjects and on other new work at international conferences devoted to conservation and science.

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The Scientific Department is a member of the EU-funded EUARTECH project devoted to promoting best practice in conservation science in Europe and fostering joint research in this area. As part of the project, the Department provided to the consortium of partners a series of laboratory-prepared pigments (lakes) based on natural dyestuff in order to assess the effectiveness of a variety of analytical protocols for the characterisation of these materials, and to establish the most reliable methods. As part of this project a Romanian scientist, Irina Petroviciu, of the National Research Laboratory for Conservation and Restoration of Movable National Cultural Heritage, Bucharest, spent time in the Department funded by the EU COST G8 programme, preparing materials for analysis by the consortium. Also within the EU-ARTECH framework an international workshop on 17th-century northern European painting techniques was organised at the National Gallery in December 2005 and a research paper on 16th-century German painting techniques was delivered at a colloquium in Colmar dedicated to the painting methods of Matthias Grünewald.

The past year marked the start of a joint research project with Nottingham Trent University designed to assess the value and application of the non-invasive technique of Optical Coherence Tomography (OCT) to the study of the internal structure of paintings. The work is supported by a Co-operative Award in Science and Engineering (CASE) studentship from the Engineering and Physical Sciences Research Council (EPSRC).

Advances were made in imaging research: a system for providing real time web access to the Gallery's high-resolution images of the collection has been developed. The software provides the user with the ability to ‘zoom-in’ on painting details, perform real time comparisons between accurate-colour images and available technical images, for example X-ray and infrared images, and to produce custom-cropped images as required. The technology has also been incorporated into an experimental image-based system for recording electronically the Gallery's Conservation Dossiers. The method, if fully developed, would enable web-based viewing of a dossier anywhere in the Gallery, and could be available externally across the web if required. The system was devised as a response to the requirement to preserve some of the more fragile, historically important, records held by the Gallery’s Conservation Department. In October 2005 the new high-resolution solid-state infrared camera system (SIRIUS), designed and built in the Scientific Department with external funding, was formally handed over to the Conservation Department for routine investigation of paintings. An improved image of the metalpoint underdrawing in Raphael’s Madonna of the Pinks was recorded as one of the first applications of the camera.

There have been significant staff changes during the year. In January 2006, Raymond White, Principal Scientific Officer, retired from the Gallery after 36 years service. In recognition of his unique contribution to the field of the organic chemistry of works of art, Mr White will receive a Royal Society of Chemistry ‘Interdisciplinary Award’ for his ‘ground-breaking contribution to the chemical investigation of natural products used in artworks’. In September 2005 Dr David Saunders took up a post as Head of Conservation, Documentation and Science at the British Museum, and Dr John Cupitt transferred to the Hammersmith Hospital to pursue research in medical imaging. Two new staff joined the Department: Dr Helen Howard, a specialist in medieval painting techniques, began work in January 2006 on technical study of the collection and Dr David Peggie was appointed in March 2006 to the organic analytical section of the laboratory.

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Access to the Collection In September 2005 the second phase of the Gallery’s project with architects Dixon Jones to improve public access to the Portico and East Wing of the Gallery was completed. The Sir Paul Getty Entrance, giving public access at street level to the original Wilkins building, opened in 2004. Visitors entering by this route can now pass through the Walter and Leonore Annenberg Court to the highly popular new Lower Hall. This features an espresso bar, the Gallery’s new ArtStart system and an extensive display of drawings by Frank Auerbach after paintings from the collection, generously donated by James and Clare Kirkman. Visitors to the Portico Entrance are now able to look up to admire the completely restored 19th-century ceiling decoration by J.D. Crace in the Staircase Hall as well as down to see the much-loved floor mosaics by Boris Anrep. The Gallery is now embarking on planning for the next phase of the Masterplan, which, among other priorities, will look to provide improved spaces for the collection.

The Gallery’s exhibition programme included the final weeks of the hugely popular exhibition, Caravaggio: The Final Years, which attracted about 245,000 visitors. The major exhibitions that followed shed new light on two other significant artists in the Gallery’s collection: Stubbs and Rubens, while Americans in Paris 1860–1900 and Mary Cassatt: Prints pointed up the interaction between New World artists rarely seen in Trafalgar Square and 19th-century French painters whose works provide some of the highlights of the collection. For the first time, a response to the collection through photography was shown in Tom Hunter: L v ng in Hell and Other Stories. In Reunions the Gallery was able to bring together three recent early Italian acquisitions and for the first time show them with their companion pieces from which they had been for some centuries divided, while the Westminster Retable showed a magnificent and newly conserved contemporary English altarpiece. The National Heritage Memorial Fund exhibition in Room 1 focused on the contribution made by seven paintings to our artistic and cultural heritage and the crucial role played by the NHMF in preserving them for the nation.

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Widening audiences is a key aim, and a programme of workshops for teenagers aged 12–17 began this year. It provided two-day workshops led by contemporary artists, and rapidly established itself as a successful element of the education programme. Many new courses and workshops for adult visitors were introduced, including an extension of the ‘Talk and…’ model, enabling participants to try life drawing, still life drawing, sculpture and printmaking. Through a partnership with the University of Roehampton, teachers in training came to the Gallery, developed a lesson plan and taught in the galleries.

Exhibitions 2005–2006 The Gallery’s exhibitions in the year 2005–2006 were well received by press and visiting public alike. In summer 2005, the Gallery mounted Stubbs and the Horse, the first major UK exhibition of the work of George Stubbs for almost twenty years. The focus of this exhibition was Stubbs’s main passion in his artistic life: the horse. The exhibition’s starting point was the anatomical drawings and prints made by Stubbs during his dissections of horse carcasses. This was the cornerstone of his success in that it gave him an unrivalled knowledge of equine anatomy. Stubbs used this skill to great effect in gaining commissions to paint the famous and valuable racehorses owned by rich and powerful British landowners of the late 18th century. These paintings of famous stallions, brood mares and foals, some of which had not been seen in public before, were the highlights of the exhibition with the central room dominated by the Gallery’s own Whistlejacket. Lenders to the exhibition included the Royal Collection and public and private collections in the UK and the United States. The exhibition was organised by the Kimbell Art Museum, Fort Worth, in association with the Walters Art Museum, Baltimore and the National Gallery.

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The summer exhibition in the Sunley Room was The Stuff of Life, the fourth in the National Gallery’s highly successful series of touring exhibitions organised in partnership with Bristol City Museum & Art Gallery and the Laing Art Gallery, Newcastle upon Tyne. Supported by generous grants from the Heritage Lottery Fund and the Esmée Fairbairn Foundation, these touring exhibitions allow great works from the National Gallery, accompanied by important loans, to be seen outside London. They have proved exceptionally popular since their inception in 2002. The exhibition included masterpieces such as Van Gogh’s Chair, Chardin’s House of Cards and Velázquez’s Kitchen Scene, all from the National Gallery’s collection alongside works by celebrated contemporary artists Sam Taylor-Wood, Gavin Turk and Peter Blake as well as loans from around the country. The exhibition considered the development of still life, but also focused on the depiction and meaning of objects in art, where even the most ordinary items can carry extraordinary significance.

The same collaborative team were able to build on the success of the first series of touring exhibitions and enter into a new three-year partnership. The first of the new exhibitions, Passion for Paint, was seen in Bristol and Newcastle in early 2006. The exhibition was a celebration of paint itself and explored how artists have manipulated paint to mimic and represent the world around them. It looked at the potential for paint to communicate sensation and emotion and how for some artists the medium itself has become the subject. The exhibition included works by Rubens, Van Dyck, Turner and Van Gogh as well as contemporary works by Bacon and Kossoff. Two new works by Suling Wang and Raqib Shaw were painted specially for this exhibition.

The Westminster Retable: England’s Oldest Altarpiece was a rare chance for the Gallery to show one of the most important northern European panel paintings of its time. The retable was almost certainly designed for the High Altar of Westminster Abbey at the request of King Henry III who commissioned the reconstruction of the east end of the Abbey in the French Gothic style in the second half of the 13th century. The retable had been produced by court painters and craftsmen to the highest standards of the period, but sadly it was muchdamaged in the post-medieval era. The surviving painted areas included a depiction of Saint Peter to whom the Abbey is dedicated and a depiction of Christ holding a beautiful detailed miniature representation of the world. The altarpiece’s form reflects the French Gothic style of the Abbey building and includes inlaid glass, imitation metalwork and imitation cameos. The retable had been conserved by the Hamilton Kerr Institute at Cambridge and was shown at the Gallery before its return to Westminster Abbey.

The annual Take One Picture exhibition featured work inspired by Degas’s Beach Scene. Take One Picture is a countrywide scheme using National Gallery paintings as the starting point for cross-curricular work. 2005 marked the tenth anniversary of the scheme. Teachers found out about the painting from a dedicated website containing free resources and online exhibitions and from the Gallery’s Continuing Professional Development courses which are attended by over 3500 teachers each year. Over 160 schools from across the UK submitted work that was not limited to art but included literacy, numeracy, science, geography, history, music and ICT. Exhibits included pictures made from shells, a sand sculpture, poems, a modern-day beach scene incorporating ‘found objects’ such as sunglasses and buckets and spades, and a sea of driftwood boats made by children with the help and advice of a local carpenter.

In the autumn, the exhibition The National Heritage Memorial Fund: 25 Years Supportingthe National Gallery was a chance to celebrate both the anniversary of the founding of the NHMF and the reopening of Room 1 which had been closed for refurbishment as part of the East Wing Project. The display celebrated the NHMF’s crucial role in saving iconic works of art, objects, places and landscapes for the nation. Seven important paintings that had been acquired by the National Gallery for the nation with the support of the NHMF were shown together, including Holbein’s Lady with a Squirrel and a Starling and Claude’s Enchanted Castle.

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Rubens: A Master in the Making was an opportunity to explore what made Rubens one of the most successful artists of the 17th century. It traced his extraordinary development through the first fifteen years of his career – following him as he left Antwerp to embark on an eight-year Italian study trip. The exhibition showed how Rubens was influenced and inspired by antique sculptures as well as the art of Michelangelo, Raphael and Caravaggio and investigated his working methods. It had the advantage of showing works from the period before Rubens established his large studio and therefore the works were by Rubens’s own hand. Highlights of the show included the monumental Saint George (Museo del Prado, Madrid), The Fall of Phaeton (National Gallery of Art, Canada) with its flailing horses and tumbling figures, and the delicate, rarely-lent portrait of his daughter, Clara Serena Rubens (Liechtenstein Museum, Vienna). The exhibition was also a final chance to see the Gallery’s Samson and Delilah in the company of its near contemporary, the compelling Massacre of the Innocents (Private Collection) before the painting travelled to its owner in Canada after an extended period on loan to the Gallery.

Reunions: Bringing Early Italian Paintings Back Together was an in-focus exhibition that celebrated recent acquisitions of early Italian paintings to the collection. This gave the Gallery the chance to reunite pictures that were once part of the same ensemble. The Gallery’s own Umbrian Virgin and Child and The Man of Sorrows were reunited when both were bought in 1999. However the highlights of the exhibition were two important loans. The Gallery’s Coronation of the Virgin by Bernardo Daddi could be seen once more with another part of the original lower panel, the Four Musical Angels (Christ Church, Oxford). The final previously separated pair of pictures, Cimabue’s celebrated Virgin and Child enthroned w th Two Angels, acquired by the Gallery in 2000, was reunited with The Flagellation of Christ (Frick Collection, New York). These rare panels were almost certainly created as part of the same much larger work, probably showing additional scenes from the Passion of Christ.

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The final exhibition to open in 2005 was Tom Hunter: Living in Hell and Other Stories, the first photographic exhibition to be held at the Gallery. Hunter first came to public attention in 1998 after winning the John Kobal Photographic Portrait Award with Woman Reading a Posses ion Order, a meticulously arranged composition that quoted directly from Vermeer. Hunter’s work continues to be inspired by both contemporary life and the art of the past. His large-format photographs take as their subjects the headlines in local newspapers, Hunter then restages these using compositions that often directly refer to Old Master paintings. The title picture, Liv ng in Hell, retold the story of an elderly woman found living in squalor and borrowed elements from the Gallery’s Four Figures at a Table by the Le Nain Brothers while The Rokeby Venus found a modern counterpart in a striptease performance in a London pub, Ye Old Axe.

In spring 2006, Americans in Paris 1860–1900 explored the attractions of 19th-century Paris for American artists and art students eager to experience the delights of this cosmopolitan city. The exhibition included James McNeill Whistler’s landmark portraits of both his mother (Arrangement in Grey and Black No. 1, Musée d’Orsay, Paris) and his mistress (The White Girl, National Gallery of Art, Washington). John Singer Sargent’s painting of Madame X (Madame Pierre Gautreau) (The Metropolitan Museum of Art, New York), which made both Sargent and his sitter notorious in Paris, was shown with a remarkable image of childhood, The Daughters of Edward Darley Boit (Museum of Fine Arts, Boston). Perhaps a third of the American art students in Paris were women, and the exhibition gave the opportunity to present their contribution to a larger audience. Paintings by Ellen Day Hale, Elizabeth Jane Gardner, Elizabeth Nourse and Cecilia Beaux were new to many British visitors. Also new to British audiences were the paintings of Mary Cassatt, some of whose finest works were on display. Cassatt was ‘at home’ in Paris in a way few of her colleagues were. She was a friend of Degas and the only American to show with the French Impressionists. The exhibition was

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organised by the National Gallery, London and the Museum of Fine Arts Boston, in association with The Metropolitan Museum of Art, New York.

Mary Cassatt’s work could also be seen in an accompanying exhibition in Room 1 that showcased her great skill as a printmaker. She was fascinated by the process and complexities of printmaking and Mary Cassatt: Prints included examples of her work in etching, drypoint and aquatint. In April 1890 Cassatt saw a major exhibition of Japanese woodblock prints that deeply inspired her. The result of this passion formed the centrepiece of the exhibition – a suite of ten colour prints reflecting a woman’s day in contemporary Paris. All 19 works in the exhibition were from the collection of The National Gallery of Canada.

Exhibitions 2005–2006 Take One Pic ure an exhibition of work by primary schools inspired by: Degas’s ‘Beach Scene’ (18 April–4 July 2005) The Space@NG Generously supported by Mr and Mrs Christoph Henkel and The Dorset Foundation Attendance 72,800

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The Westminster Retable: England’s Oldest Altarpiece (18 May–4 September 2005) Gallery B Attendance 26,710

Stubbs and the Horse (29 June–25 September 2005) Sainsbury Wing Supported by Juddmonte Farms Attendance 68,360

The Stuff of Life (14 July –2 October 2005) Sunley Room Supported by the Heritage Lottery Fund, the Esmée Fairbairn Foundation and in London by The Bernard Sunley Charitable Foundation Attendance 107,430

National Her tage Memorial Fund: 25 Years Supporting the National Gallery (24 September–30 October 2005) Room 1 Attendance 26,800

Rubens: A Master in the Making (26 October 2005–15 January 2006) Sainsbury Wing Sponsored by Shell Attendance 78,940

Reunions: Bringing Early Italian Paintings Back Together (12 November 2005–29 January 2006) Room 1 Generously supported by The Samuel H. Kress Foundation Attendance 49,110

Tom Hunter: Living in Hel and Other Stories (7 December 2005–12 March 2006) Sunley Room Attendance 136,790

Americans in Paris, 1860–1900 (22 February–21 May 2006) Sainsbury Wing Sponsored by Rothschild Attendance 92,000

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Mary Cassatt: Prints (22 February–7 May 2006) Room 1 Sponsored by Schlumberger Attendance 74,750

Passion for Paint Bristol’s City Museum & Art Gallery (21 January–26 March 2006 ) Attendance 76,339 Laing Art Gallery, Newcastle (13 April – 9 July 2006) Attendance 80,338 Supported by the Heritage Lottery Fund, the Northern Rock Foundation and the Esmée Fairbairn Foundation

Research and Publications 2005–6 Progress continued on the Gallery’s new series of collection catalogues, supported by the American Friends of the National Gallery, as a result of the generous support of Arturo and Holly Melosi through the Arthur and Holly Magill Foundation. Former Keeper Nicholas Penny (now Head of the Department of Sculpture at the National Gallery of Art, Washington D.C.) is completing the companion volume to his The Sixteenth Century Italian Paintings Volume 1: Paintings from Bergamo, Brescia and Cremona, The Sixteenth Century Italian Paintings Volume 2: Paintings from Venice 1540–1600, which will be published in mid-2007. Susan Foister, author of the forthcoming German Paintings before 1800, was granted a period of study leave in autumn 2005 in order to make progress towards the completion of this catalogue, due to be the next published. Christopher Riopelle, Curator of Paintings after 1800, was awarded a J. Paul Getty Curatorial Research Fellowship, allowing him to take study leave in summer 2005 in order to work on his contributions to The Nineteenth Century Pain ings Volume 1. Carol Plazzotta, Myojin Curator of Italian Paintings 1500–1600, will shortly begin work on a further volume, The Sixteenth Cen ury Italian Paintings: Paintings from Florence and Rome.

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Volume 26 of the National Gallery Technical Bulletin published the fruits of the important collaborative work between the Scientific, Conservation and Curatorial Departments, on which the new series of collection catalogues is founded. An investigation of the later of the Gallery’s two paintings of the Judgement of Paris by Rubens provided a reassessment of changes made to the painting in the later 17th century. The cleaning and conservation of Mazo’s Queen Mariana of Spain in Mourning provided an opportunity for assessment of Mazo’s technique and comparison with Velázquez’s work of the same subject in the Prado. The perspectival painting of Bartholomeus van Bassen was illuminated by investigation using infrared reflectography.

Luke Syson, Curator of Italian Paintings 1460–1500, was awarded a J. Paul Getty Curatorial Research Fellowship as well as an I Tatti Fellowship, the two to run consecutively, giving him a period of study leave of six months based in Florence in order to research and write the catalogue of his forthcoming exhibition on Renaissance Siena; the awards also allowed the Gallery to appoint a Curatorial Assistant for the period of his absence. The Gallery was delighted that Humphrey Wine, Curator of French Paintings 1600–1800, and Xavier Bray, Assistant Curator of Paintings 1600–1800, were both awarded Getty Research Fellowships for 2006–7: Dr Wine for research in Paris on the forthcoming catalogue, French Paintings 1700-1800, and Dr Bray for research in Spain on his future exhibition on the relationship between Spanish painting and sculpture.

New investigations by Luke Syson and Rachel Billinge into the genesis of the National Gallery version of Leonardo’s Virgin of the Rocks resulted in the discovery of two sets of

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previously unknown underdrawings. The first of these appears to show that Leonardo began work on a completely different composition of a woman, presumably the Virgin, with her right arm outstretched. The second shows the design for the present composition. In order to obtain the clearest possible images of the two underdrawings the Gallery worked with an expert team in Florence through the European Union EU-ARTECH project. The team from INOA (Istituto Nazionale di Ottica Applicata) and the OPD (Opificio delle Pietre Dure) brought to London a highresolution digital infrared scanner which forms part of the EU-ARTECH project's mobile laboratory. The discovery, which was first discussed at an informal seminar of scholars in the field held at the National Gallery, was published in July 2005 by Luke Syson and Rachel Billinge in an article in The Burlington Magazine. This new research has excited great public attention, and has resulted in a special display in Room 2, as well as a much-visited feature on the National Gallery website.

Publications by members of the curatorial department included Xavier Bray’s article in The Burlington Magazine bringing to light two rediscovered works by Anton Rafael Mengs. Nancy Ireson, Assistant Curator of Paintings after 1800, amplified her contribution,‘ Henri Rousseau: Paintings’, to the catalogue of the Tate Modern exhibition Henri Rousseau: Jungles in Paris, edited by Christopher Green and Frances Morris, with a number of other publications including Interpreting Henri Rousseau and a preface to Wilhelm Uhde’s, Recollections of Henri Rousseau. She also contributed an essay, ‘André Derain’s Wild London’, to the catalogue of the Courtauld Institute of Art exhibition, André Derain: London Paintings. Axel Rüger added to his study of the work of the Dutch architectural painter Bartholomeus van Bassen published in the National Gallery Technical Bulletin by contributing a further essay, ‘Indebted to Hans Vredeman de Vries? The case of the architectural painter Bartholomeus van Bassen’, in Studien zur Kultur der Renaissance. Lois Oliver, Assistant Curator (Exhibitions), published in The Burlington Magazine (with V. Button, A. Derbyshire, N. Frayling and R. Withnall) her study of ‘New Evidence towards an attribution to Holbein of a drawing in the Victoria and Albert Museum’.

Holbein and England by Susan Foister, published by Yale University Press in 2004, was shortlisted for the Berger prize for British Art History, as was the catalogue written by Malcolm Warner and Robin Blake for the exhibition Stubbs and the Horse, shown at the National Gallery in summer 2005.

Members of the curatorial department were active in reviewing a number of exhibitions and books during the year: Beaumont Senior Research Curator Lorne Campbell’s review of Jan van Eyck, Dresden and Bruges, was published in The Burlington Magazine, while Curatorial Assistant Simona di Nepi’s review of the exhibition, Cimabue a Pisa. La pittura pisana del Duecento da Giunta a Giotto, appeared in Apollo; Humphrey Wine’s review of the exhibition, Jacques-Louis David, at the Musée Jacquemart-André, Paris, was also published in Apollo.

Xavier Bray contributed to several conferences and seminars on aspects of Spanish painting and sculpture, including a lecture given at the National Gallery of Art, Washington, on ‘The Gods of Wood Carving: The Golden Age of Spanish Polychrome Sculpture’ and a paper ‘De-Mystifying El Greco: El Greco’s use of Wax and Plaster Models’ delivered at the El Greco symposium held at Rethymon, Crete.

Eastlake Diaries Project The Gallery has begun a long-desired project in collaboration with the Walpole Society that will result in the publication in 2011 of the entire travel diaries of Sir Charles Eastlake (1793–1865), the Gallery’s first Director. The 36 notebooks housed in the Gallery’s Archive include valuable material relating to pictures viewed by Eastlake at dealers’ premises, and in public and private collections including notes on their attribution, condition and technique. Together they provide a remarkable overview of pictures and collections throughout Italy

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and parts of Europe between 1852 and 1865, and include numerous references to individual pictures. The Gallery is deeply indebted to the great generosity of the Elizabeth Cayzer Charitable Trust, and to the support of Sir Denis Mahon, which has enabled it to appoint an Eastlake Research Fellow, Dr Susanna Avery-Quash, to undertake the first year of the project. Funds are being sought for the continuation of this three-year project.

Information concerning the Gallery’s collaborative National Inventory Research project can be found under National and International Role on pages 46–47.

Publications by National Gallery Staff, April 2005 to March 2006 Kathleen Adler Mary Cassatt P ints, National Gallery Company, London, 2006. r

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‘”We’ll Always Have Paris” Paris as Training Ground and Proving Ground’, Americans in Paris 1860 – 1900, exhibition catalogue, National Gallery Company, London, 2006, pp. 11–55.

Paul Ackroyd ‘Mazo’s “Queen Mariana of Spain in Mourning”’, National Gallery Technical Bulletin, 26, National Gallery Company, London, 2005, pp. 43–55 (with D. Carr and M. Spring).

Rachel Billinge ‘Leonardo da Vinci’s use of underdrawing in the “Virgin of the rocks” in the National Gallery and “Saint Jerome” in the Vatican’, The Burlington Magazine, vol. CXLVII, No. 1228, July 2005, pp. 450–463 (with L. Syson).

Beyond the Naked Eye: Details from the National Gallery, National Gallery Company, London, 2005 (with J. Dunkerton).

‘The Evolution of Rubens’s “Judgement of Paris” (NG194)’, National Gallery Technical Bulletin, 26, National Gallery Company, London, 2005, pp. 4–22 (with L. Oliver, F. Healy and A. Roy).

‘The Design Practices of the Dutch Architectural Painter Bartholomeus van Bassen’, National Gallery Technical Bulletin, 26, National Gallery Company, London, 2005, pp. 23–42 (with A. Rüger).

Xavier Bray ‘“The Adoration of the Magi” attributed to Giovanni Battista Crespi, Il Cerano (1573–1632): A problem of attribution’, Bulletin of the Museo de Bellas Artes, Bilbao, 2005, no. 1, pp. 17–43.

Book review: ‘Ecoles Espagnole et Portugaise, Musée du Louvre, Paris’, The Burlington Magazine, Vol. CXLVIII, August 2005, pp. 560–562.

‘Two rediscovered “Ecce Homos” by Anton Rafael Mengs in Basque museums’, The Burlington Magazine, no. CXLVII, May 2005, pp. 331–334.

‘Caravage l’oeuvre ultime’, L’Objet d’Art, March, no. 400, 2005, pp 88–101.

Exhibition review: ‘El Greco, Velázquez, Goya: Spanische Malerei aus deutschen Sammlungen’, The Burlington Magazine, Vol. CXLVIII, no. 1237, April 2006, pp. 289–291.

Lorne Campbell ‘Reflections on sources and reconstructions’ in Art of the Past: Sources & Reconstruction , Proceedings of the first symposium of the Art Tecnological Source Research Study Group, ed. Mark Clarke, Joyce H. Townsend and Ad Stijnman, London 2005, pp. 33–8.

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Exhibition review, ‘Jan van Eyck, Dresden and Bruges’, The Burlington Magazine, CXLVIII, February 2006, pp. 138–40.

Steve Dale ‘Art starts with interaction’, Museums & Heritage Magazine, issue 2, 2005.

‘Coffee and computers – a heady new brew for museum technology’, Journal of Arts Marketing, 20, 2005.

Susan Foister Catalogue entry in exhibition catalogue Hans Holbein der Jungere: die Jahre in Basel 1515–1532, Kunstmuseum, Basel.

Jill Dunkerton Beyond the Naked Eye: Details from the National Gallery, National Gallery Company, London, 2005 (with R. Billinge).

Minna Moore Ede Catalogue entries and essay, Rubens: A Master in the Making (with D. Jaffé), in Rubens: A Master in the Making, National Gallery Company, London, 2005.

Louise Govier Catalogue review: ‘Jacques-Louis David: Empire to Exile’, by Philippe Bordes, The Art Book, Volume 13, Issue 1, February 2006, pp 19–20.

Catherine Higgitt ‘Investigation of Pigment-Medium Interaction Processes in Oil Paint containing Degraded Smalt’, National Gallery Technical Bulletin, 26, National Gallery Company, London, 2005, pp. 56–70 (with M. Spring and D. Saunders).

‘Insight into the Technology of Red Lake Pigment Manufacture through Study of the Dyestuff Substrate’, National Gallery Technical Bulletin, 26, National Gallery Company, London, 2005, pp. 71–87 (with J. Kirby and M. Spring).

‘Analyses of Paint Media: New Studies of Italian Paintings of the Fifteenth and Sixteenth Centuries’, National Gallery Technical Bulletin, 26, National Gallery Company, London, 2005, pp. 88–104 (with R. White).

‘Pigment-Medium Interactions in Oil Paint Films Containing Lead-based Pigments’, WAAC (Western Association for Art Conservation) Newsletter, 2005, 27, 2, pp. 12–6 (with M. Spring and D. Saunders).

Karen Hosack How Artists See, Harcourt Education Ltd, Oxford, 2005.

‘Mares’ Tales: George Stubbs’s “Mares and Foals”’, Times Educational Supplement, 9 September 2005, pp. 18–19.

‘Beastly Beauty: Ruben’s “St George and the Dragon”’, Times Educational Supplement, 18 November 2005, pp. 16–17.

‘Masterstrokes: John Singer Sargent’s “Claude Monet Painting at the Edge of a Wood”’, Times Educational Supplement, 24 February 2006, pp. 16–17.

Helen Howard ‘Scientific examination of an oyster shell palette’, The Church of Our Lady of Mount Carmel and some Conventual Buildings at the Whitefriars, Coventry, C. Woodfield and contributers (BAR British Series 389), Oxford, 2005, pp. 245–248.

‘The painted plaster’, Sherborne Abbey and School: Excavations 1972–1976 and 1990, eds. L. Keen and P. Ellis, Dorchester, 2005, pp. 107–116 (with D. Park).

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Nancy Ireson ‘John Virtue: The Shapes of London’, Apollo, issue 505, May 2005, pp 85–6.

‘Henri Rousseau: A Stubborn Cornerstone at the Onset of Modernism’, with Dexter Dalwood, Tate Etc., issue 5, Autumn 2005, pp. 64–73.

Interpreting Henri Rousseau, Tate Publishing, London, 2005.

‘Henri Rousseau: Paintings’ in Henri Rousseau: Jungles in Paris, ed. Christopher Green and Frances Morris, Tate Publishing, London, 2005, pp. 64–166.

Preface to Wilhelm Uhde, Recollections of Henri Rousseau, Pallas Athene, November 2005.

‘André Derain’s Wild London’ in André Derain: London Paintings, ed. Ernst Vegelin van Claerbergen and Barnaby Wright, Courtauld Institute of Art, London, 2005, pp. 53–69.

Henri Rousseau: Jungles à Paris, Dossier de l’Art, collaborative project with Vincent Gilles and Claire Frèches-Thory.

David Jaffé Catalogue entries and essays (with M. Moore Ede) in Rubens: A Master in the Making, National Gallery Company, London, 2005.

Jo Kirby ‘Paints, pigments, dyes’, article in Medieval Science, Technology and Medicine: An Encyclopedia, ed. S. Livesey, (Abingdon) Routledge 2005, pp. 379–83.

‘Comparison of the fading and surface deterioration of red lake pigments in six paintings by Vincent Van Gogh with artificially aged paint reconstructions’, ICOM Comm ttee for Conservation 14th Triennial Meeting, The Hague, 12–16 September 2005: Preprints, ed. I. Verger (et al.), London 2005, pp.459–66 (with A. Burnstock, I. Lanfear, K.J. van den Berg, L. Carlyle, M. Clarke and E. Hendriks).

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‘Insight into the Technology of Red Lake Pigment Manufacture through Study of the Dyestuff Substrate’, National Gallery Technical Bulletin, 26, National Gallery Company, London, 2005, pp. 71–85 (with M. Spring and C. Higgitt).

‘The reconstruction of late 19th-century French red lake pigments’, Art of the Past: Sources and Reconstructions; Proceedings of the first symposium of the Art Technological SourceResearch study group, ed. M. Clarke, J.H. Townsend and A. Stijnman, London 2005, pp.69–77.

‘Chinese Green, an Enduring Mystery’, Dyes in History and Archaeology, 20, 2005, pp. 155–64 (with C. Cooksey and A. Dronsfield). Editor, Dyes in History and Archaeology, 20, 2005.

Editor, Dyes in History and Archaeology, 20, 2005.

Simona di Nepi Exhibition review: ‘Cimabue a Pisa. La pittura pisana del Duecento da Giunta a Giotto’, Apollo, June 2005, pp. 96–7. 39

Reunions: Bringing Early Italian Paintings Back Together, National Gallery Company, London, November 2005.

Lois Oliver ‘New Evidence towards an attribution to Holbein of a drawing in the Victoria and Albert Museum’, The Burlington Magazine, CXLVIII, March 2006, pp. 168–172 (with V. Button, A. Derbyshire, N. Frayling, R. Withnall).

‘The Evolution of Rubens’s “Judgement of Paris” (NG194)’, National Gallery Technical Bulletin, 26, National Gallery Company, London, 2005, pp. 4–22 (with R. Billinge, F. Healy and A. Roy).

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David Peggie ‘Negative Ion Electrospray Mass Spectrometry of Neoflavonoids’, Phytochemistry, 2005, 66, 23, pp. 2766–2770 (with A.N. Hulme, H. McNab and A. Quye).

‘The Analytical Characterisation of the Main Component Found in Logwood Dyed Textile Samples after Hydrochloric Acid Extraction’, Preprints for the ICOMCC 14th Triennial Meeting, The Hague, 2005, Vol II, James and James, Earthscan, pp. 783–788 (with A.N. Hulme, H. McNab, A. Quye, I, Van den Berghe and J. Wouters).

‘The application of liquid chromatography-mass spectrometry and accelerated light ageing for the analytical identification of yellow flavonoid dyes in historical tapestries’, postprints for the Research Centre for Textile Conservation and Textile Studies 1st Annual Conference, Scientific Analysis of Ancient And H storic Textiles: Informing Preservation, Display and Interpretation, 2005, Archetype Publications Ltd, pp. 208–213 (with A.N. Hulme, H. McNab and A. Quye).

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Christopher Riopelle ‘American Artists in France / French Art in America’ in Kathleen Adler, et al, Americans in Paris 1860–1900 (Exh. Cat.) London, Boston and New York, 2006, pp. 207–221.

Book review: Sue Prideaux, ‘Edvard Munch: Behind “The Scream”’, Apollo, February 2006, pp. 70–71.

Book review: Richard Thomson, ‘The Troubled Republic: Visual Culture and Social Debate in France 1889–1900’, Apollo, October 2005, pp. 64–65.

Ashok Roy Edited National Gallery Technical Bulletin, 26, National Gallery Company, London, 2005.

'The Evolution of Rubens's “Judgement of Paris”', National Gallery Technical Bulletin, 26, National Gallery Company, London, 2005, pp. 4–22 (with L. Oliver, F. Healy and R. Billinge).

Axel Rüger ‘Indebted to Hans Vredeman de Vries? The case of the architectural painter Bartholomeus van Bassen’, Heiner Borggrefe, (ed.), Studien zur Kultur der Renaissance, Weserrenaissance-Museum Schloss Brake, Lemgo 2005, pp. 136–42.

‘The Design Practices of the Dutch Architectural Painter Bartholomeus van Bassen’, National Gallery Technical Bulletin, 26, National Gallery Company, London, 2005, pp. 23–42 (with R. Billinge).

Charles Saumarez Smith ‘How to measure the success of exhibitions’, Communicating the Museum 5th. Annual Conference: What makes the ideal exhibition, 18/19 July 2005, pp.19–22.

‘Making an Entrance at the National Gallery’, Apollo, September 2005, pp.24–29.

‘Italians in the cupboard’, Times Higher Education Supplement, 28 October 2005, pp.16–17.

Book reviews: ‘Johann Kräftner (ed.), The Collection: Lichtenstein Museum, Vienna, London, 2004’ , V&A Magazine, Spring 2005, p.77.

‘John Carey, What good are the Arts ?, London, 2005’, Times Higher Education Supplement, 17 June 2005, pp. 22–23.

‘Paul Greenhalgh, The Modern Ideal: The Rise and Collapse of Idealism in the Visual Arts from the Enlightenment to Postmodernism, London, 2006’, Crafts, March/April 2006, pp.66–67.

Obituary: John Hayes, The Daily Telegraph, Wednesday 4 January 2006, p.19.

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Marika Spring ‘Pigment-Medium Interactions in Oil Paint Films Containing Lead-based Pigments’, WAAC (Western Association for Art Conservation) Newsletter, 2005, 27, 2, pp. 12–6 (with C. Higgitt and D. Saunders).

‘Investigation of Pigment-Medium Interaction Processes in Oil Paint containing Degraded Smalt’, National Gallery Technical Bulletin, 26, National Gallery Company, London, 2005, pp. 56–70 (with C. Higgitt and D. Saunders).

‘Mazo’s “Queen Mariana of Spain in Mourning”’, National Gallery Technical Bulletin, 26, National Gallery Company, London, 2005, pp. 43–55 (with P. Ackroyd and D. Carr).

‘Insight into the Technology of Red Lake Pigment Manufacture through Study of the Dyestuff Substrate’, National Gallery Technical Bulletin, 26, National Gallery Company, London, 2005, pp. 71–87 (with J. Kirby and C. Higgitt).

‘Malachite pigment of spherical particle form’, ICOM Committee for Conservation, 14th Triennial Meeting, The Hague, Preprints Vol. I, 2005, pp. 480–9 (with G. Heydenreich, M. Stillhammerova and C. M. Pina).

Luke Syson ‘Leonardo da Vinci’s use of underdrawing in the “Virgin of the rocks” in the National Gallery and “Saint Jerome” in the Vatican’, The Burlington Magazine, vol. CXLVII, No. 1228, July 2005, pp. 450–463 (with R. Billinge).

Humphrey Wine Exhibition review: ‘A test for connoisseurs’ review of Jacques-Louis David , Musée Jacquemart-André, Paris, 2005–6, Apo o, vol.158, no.527, pp.74–5. ll

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Learning for All The programme for adults was exceptionally full this year, with extensive programming surrounding all exhibitions and many other talks and courses.

Caravaggio: The Final Years was accompanied by a substantial lecture programme, with visiting scholars from Malta and the United States examining the work. Both Keith Sciberras of the University of Malta and David Stone of the University of Delaware examined the Maltese years, while Keith Christiansen of The Metropolitan Museum of Art discussed Caravaggio’s last days, and Michael Fried of Johns Hopkins University considered the role of violence in Caravaggio’s work. Sheile McTighe of the Courtauld Institute of Art examined Caravaggio’s paintings in relation to theories of physiognomy, while the National Gallery’s Dawson Carr compared the two very different versions of the Supper at Emmaus.

The programme accompanying Stubbs and the Horse began with the 2005 Felicity Meshoulam Lecture, given by Malcolm Warner of the Kimbell Art Museum, Fort Worth, on Stubbs and the origin of the thoroughbred. Other lectures looked at Stubbs’s anatomical drawings (given by Deanna Petherbridge), and at how his representations of landscape affected British filmmakers from the 1930s to the 1960s (given by Sue Harper). A roundtable discussion on Stubbs for scholars was held in partnership with the Paul Mellon Centre for Studies in British Art. A similarly comprehensive programme accompanied Rubens: A Master in the Making, with talks on the artist’s house, his drawings, and various works including the Adoration of the Kings from the Prado. A short course, including a discussion with the painter Hughie O’Donoghue, asked whether Rubens was still relevant (and concluded that he was).

Americans in Paris began with a colloquium for scholars, many of them visiting London specially for this event. The lecture programme included talks by the exhibition’s three curators, and by leading figures in the field including Richard Ormond, Nancy Mowll Mathews and Barbara Stern Shapiro. A conference featured a tour-de-force plenary lecture by Adam Gopnik, New Yorker columnist and editor of a literary anthology called Americans in Paris.

There were many collaborative events this year. A partnership with the Royal Collection resulted in a three-week course at the Gallery focused on Dutch 17th-century painting, which ended with a session at The Queen’s Gallery. The opening of the restoration of the portico of the Gallery was marked by a study day and the screening of a film on Sir John Soane, a collaboration between the Gallery and the Sir John Soane Museum. The 11th Roland Penrose Memorial Lecture was given by Turner Prize winner Martin Creed in November, while Jon Whiteley delivered the Francis Haskell Memorial Lecture, a collaboration with The Art Fund, in February 2006, on Géricault’s Raft of the Medusa.

More short practical courses than ever were developed, under the title ‘Talk and…’. These provide a brief ‘taster’ of a particular medium, and included life-drawing, still life drawing, sculpting and creative writing.

A particular focus this year was on work with teenagers. The ‘Articulate’ project, working with Key Stage 3 students from a number of inner London schools, and providing masterclasses with a range of prominent authors, poets, journalists, and scriptwriters, made possible with invaluable support from Deutsche Bank, came to the end of its first three-year cycle, and teachers were struck by the impact it had had on their students. In the informal learning area, new workshops for teenagers were introduced during school holidays. Divided into two age groups, 12–14 and 15–17, the workshops provide the opportunity to work with a contemporary artist for two intensive days, and have been enthusiastically received.

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Welcoming Visitors Work on the second stage of the East Wing Project was completed in September 2005 when the National Gallery’s main entrance on Trafalgar Square re-opened to the public after a year’s closure. This followed the redevelopment of the Portico Entrance Hall and included the restoration of the magnificent 19th-century decorative ceiling by J.D. Crace in the Staircase Hall. The Gallery hosted special public preview tours of the new Portico space as part of Open House London on 17 September 2005, led by the Gallery’s Director and the project architects, Sir Jeremy Dixon and Edward Jones.

On entering the Gallery, visitors now encounter a grand and dramatic open area that previously was restricted and cramped. Structural masonry that divided the Portico Entrance Hall into three small compartments has been removed and innovative new engineering techniques allowed the original supports for the Portico dome to be removed to create an enhanced space. In the Staircase Hall, white over-painting on the ceiling was removed and the original decorative scheme by J.D. Crace has been meticulously reinstated. This recreation of the Victorian ceiling decoration was awarded the ‘Rose Bowl’ for the best decorative project in 2005 by the Painting & Decorating Association.

The marble casings to the staircase were removed to reveal pink wall marble, sourced from quarries in Tunisia and originally used on the Gallery’s main staircase by Sir John Taylor in 1887. At ground level, the new Lower Hall is a pivotal area within the overall scheme, serving a number of purposes, but principally acting as a new space for visitors to use ArtStart, the awardwinning multi-media resource. The seating and tables allow visitors to learn more about the collection in comfort and an espresso bar has also been included at the rear of the Lower Hall to provide refreshments. The room mirrors the Central Hall directly above and links the lower gallery space on the west side with the Main Entrance and the recently created commercial areas around the Getty Entrance. The scheme includes new cloakroom and toilet facilities, the installation of air-conditioning and improved lighting.

While work took place on the Portico project, the public entered the galleries through the newly created Sir Paul Getty Entrance and the Sainsbury Wing Entrance. The Getty Entrance was designed by Dixon Jones Architects as part of Phase I of the East Wing development completed in September 2004. The completion of Phase I also provided the Gallery with the impressive Walter and Leonore Annenberg Court, a dramatic daylit atrium, an expanded spacious contemporary café and a new shop.

As well as being loved by the public the East Wing Project has met with widespread critical acclaim and has received the RIBA Award for Architecture 2006. This is recognised as the country's most rigorous and prestigious award and is judged on architectural merit together with the building's contribution to the local environment.

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A National and International Leader National and International Role Paintings from the Gallery’s collection have been seen in exhibitions throughout the United Kingdom and abroad in 2005–6. Those shown in the Gallery’s touring exhibitions partnership with Bristol’s Museums, Galleries & Archives Service and Tyne & Wear Museums, The Stuff of Life and A Passion for Paint, included such masterpieces as Van Gogh’s Chair and Gainsborough’s Morning Walk; full details of the exhibitions are to be found in the section on the exhibitions programme.

In addition, with the support of the Heritage Lottery Fund and the George Beaumont Group, Raphael’s Madonna of the Pinks went on display at the Bowes Museum from April to June 2005, along with Madonnas by Ghirlandaio and Titian from the Gallery’s collection, the fourth UK venue to show a touring exhibition featuring these three great paintings.

Many more paintings from the collection were shown throughout the UK in different contexts. Three paintings from the Gallery’s collection by Ostade, Dolci and Seurat were seen in an unusual exhibition at the Lowry Gallery, Salford, Magic White, which explored the different ways that European artists have used the colour white, through the representation of interiors, still life, clothing and light on landscape, in abstract painting and in monochrome. The Gallery’s painting by Degas, Miss La La at the Cirque Fernando, was shown at the Barber Institute of Fine Art’s exhibition on the subject; it then returned to Birmingham for the Birmingham Museum and Art Gallery’s exhibition Black Victorians: Black People in British Art 1800–1900. Breenbergh’s The Finding of Moses was shown in the Barber Institute’s exhibition Bartolomeus Breenbergh ‘Joseph in Egypt’ which afterwards travelled to the Bredius Museum, The Hague. The loan of five paintings – including works by Rembrandt, El Greco and Monet – to the re-opening of York City Art Gallery after its refurbishment was followed by the loan of Ribera’s Jacob with the Flock of Laban and Meléndez’s Still Life with Lemons and Oranges to York’s exhibition Spanish S yle. One of the first exhibitions at the newly opened space at Compton Verney in Warwickshire was Salvator Rosa: Wild Landscapes to which the Gallery lent three works including Rosa’s dramatic Self Portrait. Gainsborough’s touching portrait, The Painter’s Daughters Chasing a Butterfly was seen at both the Holburne Museum Bath and Abbot Hall Art Gallery, Kendal, in a well-received exhibition, Pictures of Innocence: Portraits of Children from Hogarth toLawrence. Three of the Gallery’s large battle scenes by Horace Vernet went on show at the Bowes Museum in the exhibition Napoleon: Art and Empire in the Age of Trafalgar.

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The Gallery also lent paintings to a number of the year’s most notable international loan exhibitions. These included major monographic exhibitions celebrating Cézanne in Provence at Washington D.C. and Aix-en-Provence, Fra Angelico at The Metropolitan Museum New York, Ugolino di Nerio at Berlin, Ingres at the Louvre, Elsheimer at Frankfurt and Rembrandt and Caravaggio in Amsterdam. The Gallery was pleased to be able to reunite its right-hand half of Manet’s Café Concert with the left-hand portion in the Oskar Reinhart Collection at Winterthur and to show its newly cleaned Griselda Master panels in Siena, the city in which they were painted. It was also pleased to lend Titian’s ‘Aldobrandini Madonna’ to the opening exhibition of the centenary of the Museum of Fine Arts in Budapest. Other loans included those to the exhibitions on Bramantino at the Ambrosiana, Milan, to the Antonello exhibition in Rome and the Titian exhibition in Naples, to the exhibition Rembrandt’s Mother at Leiden and to the exhibition on Antwerp mannerism shown at Antwerp and Maastricht. Loans to European venues included those to seventeen exhibitions in Italy, and a number to more distant locations including Australia and Mexico. A full list of long term loans and paintings lent to temporary exhibitions follows.

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The Gallery’s many international collaborations continued in 2005–6, and more information can be found in the reports on the activities of the Scientific and Conservation Departments, and in the summary of Research and Publications. Further details of the national and international role played by the Gallery’s staff are listed under External Commitments of National Gallery Staff on pages 53–54.

The National Inventory Project Thanks to support from the Arts and Humanities Research Council, the Getty Foundation and the Samuel H. Kress Foundation, awarded respectively to the three partners in the project, Birkbeck College, University of London, the National Gallery and Glasgow University, the main research project, which involves working with 200 small and regional museums across the UK to research and catalogue 7,000 pre-1900 Continental European oil paintings for a searchable web database, made considerable progress. Under the aegis of Project Director Andrew Greg, based at Glasgow University Department of History of Art and with the assistance of data editor Graham Peters, working from Birkbeck College, the first batches of researchers were appointed and began to return data from their work in museums around the country.

The National Inventory Research Project is a unique national initiative helping museums add value to their collections by offering specialist expertise to create authoritative records. The Project’s combined database of such records will publicise and promote collections, and encourage further research and the use of collections in exhibitions and publications.

In November 2005 the first NIRP research seminar was held at Glasgow University. Extremely well-attended, the University was delighted to welcome Neil MacGregor, who described the seminar as an ‘exhilarating…and inspiring event’, and met all the Neil MacGregor Scholars working for the project (see further below). The seminar featured papers from both curators and project researchers and presented examples of productive collaborations that have inspired new exhibitions and displays, such as that at the Russell-Cotes Museum, Bournemouth. Further seminars will be held in 2006–7.

Pilgrim Trust Grants Scheme In May 2005 the steering committee awarded the final grants for research into the pre-1900 European paintings collections of UK museums so generously supported by the Pilgrim Trust. These were awarded to Sheffield Galleries & Museums, Glasgow Museums: Burrell Collection and the Hatton Gallery, Newcastle upon Tyne. 29 institutions were awarded grants in total (see list below). Nearly 1200 paintings have been researched, and the resulting information made available to the NIRP database. In many cases new information has led participating museums to create new displays of paintings for the public.

List of institutions awarded grants: 1. Aberdeen Art Gallery 2. Beecroft Art Gallery, Westcliff-on-sea 3. Bowes Museum, Barnard Castle 4. Brodsworth Hall, Doncaster 5. Cecil Higgins Art, Bedford 6. Fairfax House 7. Glasgow City Museums 8. Glasgow City Museums :Kelvingrove 9. Glasgow Museums: Burrell Collection 10–15. Glynn Vivian Art Gallery + 5 other Welsh collections (Two grants) 16. Hatton Gallery 17. Holburne Museum of Art, Bath (Two grants) 18. Hunterian Art Gallery, Glasgow

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19. National Trust for Scotland 20. Paisley Museums & Gallery 21. Plymouth City Museums and Gallery 22. Royal Pump Rooms 23. Sheffield Galleries & Museums 24. Shipley Art Gallery, Gateshead 25. Wakefield Art Gallery 26. Wolverhampton Art Gallery 27–29. Wolverhampton Art Gallery, Northampton Museum & Art Gallery, New Walk Museum, Leicester

The Neil MacGregor Scholarships Three new Neil MacGregor Scholars were appointed in Autumn 2005. Dr Anne Cowe researched 19th-century French painting at the Bowes Museum, where her experience in the field allowed her to make new discoveries. Irene Galandra worked with the collection at Sheffield Galleries and Museum, while Lenia Kouneni researched paintings at two collections, the Royal Museum at Canterbury, and Dover Museum. We are immensely grateful to the donors who have so generously supported the scheme and to the collections who have welcomed and supported the Scholars.

The Public Catalogue Foundation The Public Catalogue Foundation is a registered charity established in 2002 with distinct but complementary aims to those of the National Inventory Project: it aims to produce county by county catalogues in book form of all oil paintings in public collections. The two projects are co-operating wherever possible. Charles Saumarez Smith is a member of the Public Catalogue Foundation Board and Susan Foister is a member of the Advisory Panel; the Foundation rents office space at the National Gallery. During 2005–6 the Public Catalogue Foundation published catalogues of collections in Suffolk, East Sussex and West Yorkshire.

Long Term Loans from the National Gallery Pictures lent to other Galleries. Pictures included in temporary exhibitions are listed separately. *Pictures returned

Amsterdam, Van Gogh Museum Pissarro Boulevard Montmartre at Night NG4119*

Amsterdam, Rijksmuseum Ter Borch The Swearing of the Oath of Ratification of the Treaty of Munster NG896 Lundens The Company of Captain Banning Cocq and Lieutenant Willem van Ruytenburch('The Nightwatch') NG289

Bristol, City Art Gallery (Bristol City Council) Solario Saint Catherine of Alexandria (Left Wing of a Triptych) NG646 Solario Saint Ursula (Right Wing of a Triptych) NG647

Dordrecht, Dordrechts Museum Van Calraet Scene on the Ice outside Dordrecht NG3024

Dublin, The Hugh Lane Municipal Gallery of Modern Art (The Hugh Lane Bequest) Barye The Forest of Fontainebleau NG3233 Bonvin Still Life with Book, Papers and Inkwell NG3234 Boudin The Beach at Tourgéville-les-Sablons NG3235 Brown The Performing Dog NG3236

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Corot Summer Morning NG3238 Imitator of Corot A Peasant Woman NG 3239 Courbet The Diligence in the Snow NG3242 Courbet The Pool NG3243 Courbet Self Portrait NG3240 Style of Courbet In the Forest NG3241 Daubigny Honoré Daumier NG3245 Diaz de la Peña Venus and Two Cupids NG3246 Fantin-Latour Still L fe with G ass Jug, Fruit And F owers NG3248 i l l

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Forain Legal Assistance NG3249 French 19th Century Negress NG3250 Gérôme Portrait of Armand Gérôme NG3251 Jongkind Skating in Holland NG3253 Madrazo Portrait of a Lady NG3254 Mancini Aurelia NG3258 Mancini The Customs NG3255 Mancini The Marquis Del Grillo NG3257 Mancini On a Journey NG3256 Maris A Girl feeding a Bird in a Cage NG3261 Monticelli The Hayfield NG3263 Puvis de Chavannes A Maid combing a Woman's Hair NG3267 Rousseau Moonlight: The Bathers NG3269 Stevens The Present NG3270 Vuillard The Mantelpiece (La Cheminée) NG3271

Currently on display at the National Gallery of Ireland whilst Hugh Lane Municipal Art Gallery is undergoing refurbishment Manet Eva Gonzalès NG3259 Morisot Summer's Day NG3264 Pissarro View from Louveciennes NG3265 Renoir The Umbrellas NG3268

Edinburgh, National Gallery of Scotland Bega An Astrologer NG1481 Florentine School The Virgin and Child NG6266 Metsu A Man and a Woman seated by a Virginal NG839 Van der Heyden A View in Cologne NG866

Liverpool, Walker Art Gallery Master of the Aachen A tarpiece The Crucifixion NG1049

London, British Museum Greco-Roman A Man with a Wreath NG3932 Greco-Roman A Young Woman NG3931

London, Government Art Collection11 Downing Street (Prime Minister’s Office) Corot Souvenir of a Journey to Coubron NG2631* Hobbema A Stream by a Wood NG833* Zais Landscape with a Ruined Tower NG2086*

London, Tate Gallery (Tate Exchange Loans) Cézanne The Grounds of the Château Noir NG6342 Klimt Portrait of Hermine Gallia NG6434 Matisse Portrait of Greta Moll NG6450 Monet Water-Lilies NG6343 Picasso Fruit Dish, Bottle and Violin NG6449 Redon Ophelia among the Flowers NG6438

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Renoir Misia Sert NG6306 Turner The Parting of Hero and Leander – from the Greek of Musaeus NG521 Vuillard Lunch at Vasouy NG6373 Vuillard Lunch at Vasouy NG6388

Prague, British Embassy Studio of Van Dyck Prince Rupert, Count Palatine NG6363*

Sheffield, Graves Art Gallery Degas Portrait of Elena Carafa NG4167

Paintings Jointly Owned

Cardiff, National Museums and Galleries of Wales Poussin The Finding of Moses NG6519

Birmingham, Barber Institute Van Dyck Portrait of François Langlois NG6567

Loans from the National Gallery to Temporary Exhibitions Raphael's ‘Madonna of the Pinks’ The Virgin and Child in Renaissance Italy Manchester Art Gallery May – June 2004 National Museum and Gallery, Cardiff July – September 2004 The National Galleries of Scotland, Edinburgh January – April 2005 The Bowes Museum, Co. Durham April – June 2005 Ghirlandaio The Virgin and Child NG3937 Raphael The Madonna of the Pinks NG6596 Titian The Virgin and Child NG3948

Cloud Images Bucerius Kunst Forum, Hamburg June – September 2004 Alte Nationalgalerie, Berlin September 2004 – January 2005 Aargauer Kunsthaus, Aargau February – May 2005 Corot The Roman Campagna, with the Claudian Aqueduct NG 3285

Turner, Whistler, Monet Art Gallery of Ontario, Toronto July – September 2004 Grand Palais, Paris October 2004 – January 2005 Tate Britain, London February – May 2005 Monet The Thames below Westminster NG6399 Turner Sun rising through Vapour: Fishermen cleaning and selling Fish NG479 (Tate Britain only)

Rubens Albertina, Vienna September – December 2004 Rubens The Miraculous Draught of Fishes NG680

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Carel Fabritius Mauritshuis, The Hague September 2004 – January 2005 Staatliches Museum, Schwerin January – June 2005 Fabritius A View of Delft NG3714 Fabritius A Young Man in a Fur Cap NG4042 Van der Poel A View of Delft after the Explosion of 1654 NG1061

Bartholomeus Breenbergh ‘Joseph in Egypt’ Barber Institute of Fine Arts, Birmingham October 2004 – January 2005 Museum Bredius, The Hague February – May 2005 Breenbergh The Finding of the Infant Moses by Pharaoh's Daughter NG208

Fra Carnevale: Florentine Art and Renaissance Culture at the Court of Urbino Pinacoteca di Brera, Milan October – December 2004 The Metropolitan Museum of Art, New York January – May 2005 Master of the Castello Nativity The Nativity NG 3648 Attrib to Jacopo di Antonio (Master of Pratovecchio) The Virgin. Altarpiece Pinnacle (left) NG584.7 Attrib to Jacopo di Antonio (Master of Pratovecchio) Saint John the Evangelist. Altarpiece Pinnacle (right) NG584.8

Caravaggio: The Final Years Museo di Capodimonte, Naples October 2004 – January 2005 National Gallery, London February – May 2005 Caravaggio The Supper at Emmaus NG172 Caravaggio Salome receives the Head of Saint John the Baptist NG6389

Painters of Daily Life in 17th-Century Holland Museum Boijmans van Beuningen, Rotterdam October 2004 – January 2005 Städelsches Kunstinstitut, Frankfurt February – May 2005 De Hooch The Courtyard of a House in Delft NG835

Drawn by the Brush: Oil Sketches by Peter Paul Rubens Bruce Museum of Arts and Science, Greenwich CT October 2004 – January 2005 Berkeley Museum of Art, Berkeley CA March – May 2005 Cincinnati Museum of Art, Cincinnati, OH June – September 2005 Rubens Aurora abducting Cephalus NG2598

Gerard ter Borch National Gallery of Art, Washington, DC November 2004 – January 2005 Detroit Institute of Art, Detroit, MI February – May 2005 Ter Borch The Ratification of the Treaty of Munster NG896

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Ter Borch An Officer dictating a Letter NG5847 Ter Borch Portrait of Young Man NG1399

Late Moroni. Giovan Battista Moroni – Reality Painter Museo Adriano Bernareggi, Bergamo November 2004 – April 2005 Moroni Portrait of a Man holding a Letter (‘The Lawyer’) NG742

Stubbs and the Horse Kimbell Art Museum, Fort Worth, TX November 2004 – February 2005 Walters Art Gallery, Baltimore, MD March – June 2005 National Gallery, London June – September 2005 Stubbs Whist ejacket NG6569 lStubbs The Milbanke and Melbourne Families NG6429 Stubbs A Gentleman driving a Lady in a Phaeton NG3529

Elisabetta Sirani (1638–1665) Museo Civico Archaeologico di Bologna December 2004 – April 2005 Reni Saint Mary Magdalene NG177

Turks. A Journey of a Thousand Years 600–1600 Royal Academy of Arts, London January – April 2005 Attrib. to Gentile Bellini The Sultan Mehmet II NG3099

Rembrandt's Late Religious Portraits National Gallery of Art, Washington, DC January – May 2005 J Paul Getty Museum, Los Angeles, CA June – August 2005 Rembrandt An Elderly Man as Saint Paul NG243 Rembrandt A Bearded Man in a Cap NG190

The Stuff of Life – National Gallery Touring Partnership Exhibition Bristol City Museum & Art Gallery January – April 2005 Laing Art Gallery, Newcastle April – July 2005 National Gallery, London July – October 2005 Benson The Magdalen Reading NG655 Beuckelaer The Four Elements: Earth. A Fruit and Vegetable Market with the Flight into Egypt in the Background NG6585 Beuckelaer The Four Elements: Water. A Fish Market with the Miraculous Draught of Fishes in the Background NG6586 (Newcastle only) Beuckelaer The Four Elements: Air. A Poultry Market with the Prodigal Son in the Background NG6587 (Newcastle only) Beuckelaer The Four Elements: Fire. A Kitchen Scene with Christ in the House of Martha and Mary in the Background NG6588 Cézanne The Stove in the Studio NG6509 Chardin The House of Cards NG4078 Courbet Still Life with Apples and a Pomegranate NG5983 Dolci The Virgin and Child with Flowers NG934

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Van Gogh Van Gogh's Chair NG3862 Van Huysum Flowers in a Terracotta Vase NG796 Kalf Still L fe with D inking-Horn NG6444 i r

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Meléndez Sti l Life with Oranges and Walnuts NG6505 Van Mieris A Woman and a Fish-pedlar in a Kitchen NG841 Pissarro The Pork Butcher L724 Steenwyck Still L fe: An Allegory of the Vanities of Human Life NG1256 Valentin de Boulogne The Four Ages of Man NG4919 Velázquez Kitchen Scene with Christ in the House of Martha and Mary NG1375 Zurbarán A Cup of Water and a Rose NG6566

Claude Monet and Modernist London Museum of Fine Arts, Saint Petersberg, FL January – April 2005 Brooklyn Museum of Fine Art, New York May – September 2005 Baltimore Museum of Fine Art September 2005 – January 2006 Daubigny St Paul's from the Surrey Side NG2876

Edgar Degas: Miss La La at the Cirque Fernando The Barber Institute of Fine Art, Birmingham February – May 2005 Degas Miss La La at the Cirque Fernando NG4121

Imago Urbis Rome / The Image of Rome in the Modern Age Musei Capitolini, Rome February – May 2005 Claude A View in Rome NG1319

Joshua Reynolds: The Creation of Celebrity Ferrara Arte February – May 2005 Tate Britain, London May – September 2005 Reynolds Captain Robert Orme NG681 Reynolds Lord Heathfield of G braltar NG111

Jacques-Louis David. Empire to Exile The J Paul Getty Museum, Los Angeles, CA February – May 2005 Sterling and Francine Clark Art Institute, Williamstown, MA June 2005 – September 2005 David Portrait of the Comtesse Vilain XIIII and her Daughter NG6545

Degas's Sculptures Milwaukee Art Museum, Milwaukee, WI February – June 2005 Degas Ballet Dancers NG4168

Matisse, His Art and His Textiles Royal Academy of Arts, London March – May 2005 Matisse Portrait of Greta Moll NG6450

Andrea Palladio and the Veneto Villa: From Petrarch to Carlo Scarpa Palazzo Barbaran da Porto, Vicenza March – June 2005

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Bassano The Tower of Babel NG60

Bernardo Bel otto – European Vedutas Kunsthistorisches Museum, Vienna March – June 2005

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Bellotto Venice: The Grand Canal facing Santa Croce NG2514

Canaletto – Il Trionfo della Veduta Palazzo Giustiniani, Rome March – June 2005 Canaletto Venice: The Feast of Saint Roch NG937

Cimabue a Pisa. La pittura pisana del Duecento da Giunta a Giotto Museo Nazionale di San Matteo, Pisa March – June 2005 Cimabue The Virgin and Child enthroned with Two Angels NG6583

Diego Velázquez Museo di Capodimonte, Naples March – June 2005 Velázquez Toilet of Venus (‘The Rokeby Venus’) NG2057 Velázquez The Immaculate Conception NG6424 Velázquez Saint John the Evangelist on the Island of Patmos NG6264

Exchange Loan for Capodimonte's ‘Velázquez’ Exhibition Apsley House, London March – June 2005 Goya Portrait of the Duke of Wellington NG6322

Painted Stories. Niccolò dell'Abate and 16th Century Painting between Modena and Paris Foro Boario, Modena March – June 2005 Dell'Abate Death of Eurydice NG5283

Reflections York City Art Gallery March – June 2005 Studio of El Greco The Agony in the Garden of Gethsemane NG3476 Monet Flood Waters NG6278 Gaulli Portrait of Cardinal Marco Gallo NG6534 Ostade The Interior of an Inn NG2540 Attributed to Rembrandt Portrait of Margaretha de Geer, wife of Jacob Trip NG5282 Titian Portrait of a Young Man L611

Salvator Rosa: Wild Landscape Compton Verney March – June 2005 The Wallace Collection, London June – September 2005 Rosa Landscape with Mercury and the Dishonest Woodman NG84 Rosa Self Portrait NG4680 Rosa Landscape with Travellers asking the Way L899

Pictures of Innocence: Portraits of Children from Hogarth to Lawrence Holburne Museum of Art, Bath March – June 2005 Abbot Hall Art Gallery, Kendal July – October 2005

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Gainsborough The Painter's Daughters chasing a Butterfly NG1811

Romanticism in Belgium Royal Museums of Fine Arts of Belgium, Brussels March – July 2005 Denis Sunset in the Roman Campagna NG6562

The Asparagus in Old Master Paintings Museum Limburgs, Venlo April – July 2005 Snijers A Still Life with Fruit, Vegetables, Dead Chickens and a Lobster NG1401

Hope and Healing: Painting in Italy in a Time of Plague 1500-1800 Worcester Art Museum, Worcester April – September 2005 Caroselli The Plague at Ashdod (after Poussin) NG165

Antonello da Messina's ‘Saint Jerome in his Study’ Galleria Regionale, Messina May – August 2005 Antonello Saint Jerome in his Study NG1418

L'Esprit des Villes (1720–1770). Nancy et l'Europe urbaine au Siècle des Lum ères Musée des Beaux-Arts de Nancy, Nancy May – August 2005

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Canaletto Venice: Campo S. Vidal and Santa Maria della Carità (‘The Stonemason's Yard’) NG127

Leonardo, Michelangelo and the Renaissance in Florence National Gallery of Canada, Ottawa May – September 2005 Del Sarto Portrait of a Young Man NG690

Corot. Nature, Emotion, Souvenir Museo Thyssen Bornemisza, Madrid June – September 2005 Corot Avignon from the West NG3237 Corot Peasants under the Trees at Dawn NG6439

Picture of Britain Tate Britain, London June – September 2005 Gainsborough Cornard Wood, near Sudbury, Suffolk NG925

Wilson Goodwood, West Sussex June – September 2005 Wilson Holt Bridge on the River Dee NG6196

Cézanne Pissarro: Making Modernism Museum of Modern Art, New York June – September 2005 Los Angeles County Museum of Art, Los Angeles, CA October 2005 – January 2006 Musée d'Orsay, Paris February – May 2006 Pissarro The Côte des Boeufs at L'Hermitage NG4197

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Master of Landscape: Jacob van Ruisdael's Paintings, Drawings and Etchings Los Angeles County Museum of Art, Los Angeles, CA June – September 2005 Philadelphia Museum of Art, Philadelphia, PA October 2005 – February 2006 Royal Academy of Arts, London February – June 2006 Ruisdael Bleaching Ground in a Hollow by a Cottage NG44 Ruisdael Landscape with a Ruined Castle and a Church NG990

Goya: Prophet der Moderne Alte Nationalgalerie, Berlin July – September 2005 Kunsthistorisches Museum, Vienna October 2005 – January 2006 Goya A Scene from El Hechizado por Fuerza ('The Forcibly Bew tched') NG1472 iGoya A Picnic NG1471

Aspects of Christ The Wallraf Richartz Museum, Cologne July – October 2005 Attrib to Lorenzo Monaco The Baptism of Christ NG4208

The Healing Touch Scottish National Portrait Gallery, Edinburgh July – November 2005 Imitation of Teniers the Younger A Doctor tending a Patient's Foot in his Surgery NG2599

Napoleon: Art and Empire in the Age of Trafalgar The Bowes Museum, Co. Durham August 2005 – January 2006 Vernet The Battle of Hanau NG2966 Vernet The Battle of Montmirail NG2965 Vernet The Emperor Napoleon I NG1285

Luca Giordano Palazzo Medici Riccardi, Florence September – November 2005 Giordano Allegory of Divine Wisdom L887 Giordano Allegory of Fortitude L888 Giordano Allegory of Justice L889 Giordano Allegory of Prudence L890 Giordano Allegory of Temperance L891 Giordano Apotheosis of the Medici L892 Giordano The Cave of Eternity L893 Giordano Minerva as Protectress of the Arts and Science L894 Giordano Mythological Scene of Agriculture L886 Giordano Mythological Scene with the Rape of Proserpine L895

Women of Distinction: Margaret of York and Margaret of Austria The Mechelen Lamot Site, Mechelen September – December 2005 Attributed to Peter van Coninxloo Philip the Handsome NG2613.1 Attributed to Peter van Coninxloo Margaret of Austria NG2612.2 Workshop of the Master of the Magdalen Legend The Magdalen NG2614

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Il Cavaliere in nero di Giovanni Battista Moroni. Un Nuovo capolavoro del Museum Poldi Pezzoli Museo Poldi Pezzoli, Milan September 2005 – January 2006 Moroni The Tailor (‘Il Tagliapanni’) NG697

Manet and La Brasserie Reichshoffen: 'Two Café-Concerts Reunited' Oskar Reinhart Collection 'Am Romerholz', Winterhur September 2005 – January 2006 Manet Corner of a Café-Concert NG3858

Renoir's Painting of Women Columbus Museum of Art, Ohio September 2005 – January 2006 Renoir Dancing Girl with Castanets NG6318 Renoir Dancing Girl with Tamborine NG6317

Renoir Cinémathèque Francaise, Paris September 2005 – January 2006 Renoir Misia Sert NG6306

The Dutch Golden Age National Museum, Stockholm September 2005 – January 2006 Hals Young Man holding a Skull NG6458

Northern Nocturnes: Night and Evening Landscapes in the Age of Rembrandt and Rubens National Gallery of Ireland, Dublin October – December 2005 Van der Neer A River near a Town, by Moonlight NG239

Degas and Britain Tate Britain, London October 2005 – January 2006 Degas Miss La La at the Cirque Fernando NG4121

Fra Angelico The Metropolitan Museum of Art, New York October 2005 – January 2006 Fra Angelico The Dominican Blessed: Outer Left Pilaster Panel NG663.4 Fra Angelico The Dominican Blessed: Outer Right Pilaster Panel NG663.5 Workshop of Fra Angelico The Vision of the Dominican Habit NG3417 Attributed to Zanobi Strozzi The Ado ation of the Magi NG582 r

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Fra Angelico Blessing Redeemer L10

Vienna 1900: Klimt, Schiele, Kokoschka Moser Grand Palais, Paris October 2005 – January 2006 Klimt Portrait of Hermine Gallia NG6434

Masters of the Romantic Period: Dutch Painting 1800–1850 Kunsthal, Rotterdam October 2005 – January 2006 Schelfhout Landscape with Cumulus Clouds, with View of Haarlem on the Horizon L811

Extravaganza! Paintings and Drawings from Antwerp 1505–1530 Koninklijk Museum voor Schone Kunsten, Antwerp October 2005 – January 2006

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Bonnefanenmuseum, Maastricht January – April 2006 Workshop of the Master of 1518 The Visitation of the Virgin to Saint Elizabeth NG1082 Workshop of the Master of 1518 The Flight into Egypt NG1084 Netherlandish The Magdalen NG719

Frans van Mieris the Elder Mauritshuis, The Hague October 2005 – January 2006 National Gallery of Art, Washington DC February – May 2006 Van Mieris The Elder Portrait of the Artist's Wife, Cunera van der Cock NG1415 Van Mieris The Elder A Woman in a Red Jacket feeding a Parrot NG840

Self Portraits 1500–2000 National Portrait Gallery, London October 2005 – January 2006 Art Gallery of New South Wales, Sydney February – May 2006 Van Eyck Portrait of a Man (Self Portrait?) (NPG only) NG222 Rembrandt Self Portrait a the Age of 32 (NPG only) NG672 t

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Rosa Self Portrait NG4680 Vigée le Brun Self Portrait in a Straw Hat NG1653 Cézanne Self Portrait NG4135

Monet: Camille and the Female Portrait in Impressionism Kunsthalle, Bremen October 2005 – February 2006 Degas Hélène Rouart in her Father’s Study NG6469

Fierce Friends. Artists and Animals in the Industrial Era 1750–1920 Van Gogh Museum, Amsterdam October 2005 – February 2006 Carnegie Museum, Pittsburgh, PA March – August 2006 Longhi Exhib tion of a Rhinoceros at Venice NG1101 Géricault A Horse frightened by Lightning NG4927 Bonheur The Horse Fair NG621

Drawings by Guercino Dulwich Picture Gallery, London November 2005 – January 2006 Guercino Presentation of Jesus in the Temple L34

David Tenier 1610–1690. Daily Life and Festivities in Flanders Staatliche Kunsthalle, Karlsruhe November 2005 – February 2006 Teniers the Younger Peasants playing Bowls outside a Village Inn NG951

The Santa Croce Polyptych’ by Ugolino di Nerio Gemäldegalerie, Berlin November 2005 – February 2006 Ugolino The Betrayal of Christ NG1188 Ugolino David NG6485 Ugolino The Deposition NG3375 Ugolino Isaiah NG3376 Ugolino Moses NG6484

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Ugolino The Resurrection NG4191 Ugolino Saint Bartholomew and Saint Andrew NG3473 Ugolino Saint Simon and Saint Thaddeus (Jude) NG3377 Ugolino The Way to Calvary NG1189 Ugolino Two Angels NG3378 Ugolino Two Angels NG6486

Pissarro Art Gallery of New South Wales, Sydney November 2005 – February 2006 National Gallery of Victoria, Melbourne March – May 2006 Pissarro The Louvre under Snow NG4671

Jungles in Paris: The Paintings of Henri Rousseau Tate Modern, London November 2005 – February 2006 Grand Palais, Paris March – June 2006 National Gallery of Art, Washington DC July – October 2006 Rousseau Tiger in a Tropical Storm (Surprised!) NG6421

Francisco de Goya Museo Nacional de Arte, Mexico City November 2005 – March 2006 Goya Doña Isabel de Porcel NG1473

Baroque in the Vatican Art and Exhibition Hall of the Federal Republic of Germany, Bonn November 2005 – March 2006 Martin-Gropius-Bau, Berlin April – July 2006 Carracci The Holy Family with the Infant Saint John the Baptist ('The Montalto Madonna') (Berlin Only) NG6597 Guercino Saint Gregory the Great with Saints Ignatius Loyola and Francis Xavier L603

Magic White The Lowry Gallery, Salford November 2005 – April 2006 Ostade An Inn by a Frozen River NG963 Dolci The Virgin and Child with Flowers NG934 Seurat The Seine seen from La Grande Jatte NG6558

Rome and Siena: Echoes and Art Works. Raphael and Caravaggio – at the Heart of a Millennial Relationship Palazzo Squarcialupi, Siena November 2005 – April 2006 Master of the Story of Griselda The Story of Patient Griselda Part I NG912 Master of the Story of Griselda The Story of Patient Griselda Part II NG913 Master of the Story of Griselda The Story of Patient Griselda Part III NG914

Titian and the Venetian Madonna Museum of Fine Arts, Budapest December 2005 – January 2006 Titian The Virgin and Child with the Infant Saint John and a Female Saint or Donor ('The Aldobrandini Madonna') NG635

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Le Adorazioni del Bramantino Pinacoteca Ambrosiana, Milan December 2005 – February 2006 Bramantino The Adoration of the Kings NG3073

Van Dyck Disp ay Liechtenstein Museum, Vienna December 2005 – February 2006

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Van Dyck Lord John Stuart and his Brother, Lord Bernard Stuart NG6518

Rembrandt's Mother, Myth and Reality Stedelijk Museum De Lakenhal, Leiden December 2005 – March 2006 Rembrandt Anna and the Blind Tobit NG4189

Bellini and the East Isabella Stewart Gardner Museum, Boston, MA December 2005 – March 2006 National Gallery, London April – June 2006 Bellini Portrait of Sultan Mehmet II NG3099 Bellini Cardinal Bessarion and Two Members of the Scuola della Carità in prayer with the Bessarion Reliquary NG6590

Spanish Style York Art Gallery, York January – March 2006 Ribera Jacob with the Flock of Laban NG244 Meléndez Sti Life with Lemons and Oranges NG6602

Black Victorians: Black People in British Art 1800–1900 Birmingham Museum and Art Gallery, Birmingham January – April 2006 Degas Miss La La at the Cirque Fernando NG4121

Michelangelo Drawings: closer to the master The British Museum, London January – April 2006 After Michelangelo Leda and the Swan NG1868 Attrib. to Venusti The Pur fication of the Temple NG1194

Passion for Paint National Gallery Touring Partnership Exhibition Bristol City Museum & Art Gallery January – April 2006 Laing Art Gallery, Newcastle April – July 2006 National Gallery, London July – September 2006 Morisot Girl on a Divan L720 Rubens Minerva pro ects Pax from Mars (‘Peace and War’) NG46 Van Dyck Lady Elizabeth Thimbelby and her Sister NG6437 Degas Combing the Hair (‘La Coiffure’) NG4865 Monet Flood Waters NG6278 Rembrandt Portrait of Margaretha de Geer, Wife of Jacob Trip NG5282 Hals Portrait of a Man in his Thirties NG1251 Murillo A Peasant Boy leaning on a Sill NG74 Gainsborough Mr and Mrs William Ha ett (‘The Morning Walk’) NG6209

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Veronese The Vision of Saint Helena NG1041 Reni Saint Mary Magdalene NG177 Turner Margate(?), from the Sea NG1984 Renoir Moulin Huet Bay, Guernsey NG6204 Seurat A River Bank (The Seine at Asn ères) NG6559 i

Cézanne in Provence National Gallery of Art, Washington, DC January – May 2006 Musée Granet, Aix-en-Provence June – September 2006 Cézanne Bathers (Les Grandes Baigneuses) NG6359 Cézanne Hillside in Provence NG4136

Federico Barocci in British Collections The Fitzwilliam Museum, Cambridge February – May 2006 Barocci Madonna and Child with Saint Joseph and the Infant Baptist (‘La Madonna del Gatto’) NG29

Giovanni Battista Tiepolo: Oil Sketches Courtauld Institute of Art, London February – May 2006 Tiepolo A Vision of the Trinity appearing to Pope Saint Clement (?) NG6273 Tiepolo The Banquet of Cleopatra NG6409

Jean-Auguste-Dominique Ingres (1780–1867) Musée du Louvre, Paris February – May 2006 Ingres Monsieur de Norvins NG3291 Ingres Madame Moitessier NG4821

Rembrandt and his Circle Statens Museum for Kunst, Copenhagen February – May 2006 Rembrandt Portrait of Aechje Claesdr. NG775 Maes A Woman scraping Parsnips, with a Child standing by her NG159

Courbet and the Modern Landscape J. Paul Getty Museum, Los Angeles, CA February – May 2006 The Museum of Fine Arts, Houston, TX June – September 2006 The Walters Art Museum, Baltimore, MD October 2006 – January 2007 Courbet Beach Scene NG6396

A Casa di Andrea Mantegna: La Culture Artistica e Mantona nel Quattrocento Casa del Mantegna, Mantova February – June 2006 Costa Portrait of Battista Fiera NG2083

Rembrandt and Caravaggio Van Gogh Museum, Amsterdam (organised by the Rijksmuseum) February – June 2006 Rembrandt Belshazzar's Feast NG6350 Rembrandt Saskia van Uylenburgh in Arcadian Costume NG4930 Caravaggio The Supper at Emmaus NG172

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Lumières Bibliothèque Nationale de France, Paris March – May 2006 Chardin La Fontaine (The Water Cistern) NG1664

Da Caravaggio a Mattia P eti Liechenstein Museum, Vienna March – July 2006

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Ribera The Lamentation over the Dead Christ NG235 Caravaggio Boy bitten by a Lizard NG6504 Caravaggio Salome receives the Head of Saint John the Baptist NG6389

Antonello da Messina Scuderie del Quirinale, Rome March – June 2006 Antonello Saint Jerome in his Study NG1418 Attrib to Antonello The Virgin and Child NG2618

Dreaming of Italy Mauritshuis, The Hague March – June 2006 Claude A Seaport NG5 Jones A Wall in Naples NG6544 Pitloo View of the Aventine Hill from the Palatine L861

Raffaello tra Città di Castello e Perugia Pinacoteca Comunale, Città di Castello March – June 2006 Raphael Saint John the Baptist Preaching NG6480

Tiziano e il ritratto Italiano del Cinquecento Museo Nazional di Capodimonte, Naples March – June 2006 Titian An Allegory of Prudence NG6376 Moretto Portrait of Conte Fortunato Martinego Cesaresco (?) NG299 Moroni Canon Ludovico di Terzi NG1024

Adam Elsheimer Städelsches Kunstinstitut, Frankfurt March – June 2006 National Galleries of Scotland, Edinburgh June – September 2006 Dulwich Picture Gallery, London September – December 2006 Elsheimer The Baptism of Christ NG3904 Elsheimer Saint Lawrence prepared for Martyrdom NG1014 Elsheimer Saint Paul on Malta NG3535

Van Gogh in Britain: Pioneer Collectors Compton Verney House Trust, Compton Verney March – June 2006 National Galleries of Scotland, Edinburgh July – September 2006 Van Gogh A Wheatfield, with Cypresses NG3861 Van Gogh Long Grass with Butterflies NG4169

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External Commitments of National Gallery Staff Charles Saumarez Smith

Ex-officio Expert adviser to the DCMS referring cases to the Reviewing Committee on the Export of Works of Art Member of the Board of Electors to the Slade Professorship of Fine Art, University of Oxford Member of the Advisory Board of the Government Art Collection

Trusteeships and Memberships Chairman, Management Committee Centre for the Study of the Domestic Interior, Arts & Humanities Research Board Member of Museums and Galleries Standing Committee, Arts & Humanities Research Council Member of Council, Attingham Trust Member of Visual Arts Advisory Committee, British Council Member of Council, Charleston Trust Trustee, Engage Member of the Advisory Committee, Getty Leadership Institute Trustee, Heritage Conservation Trust Member of the International Advisory Council, Louise T Blouin Foundation President and Member of Council, Museums Association Member of Board, School of Advanced Study Trustee, Soane Monuments Trust Governor, London Institute, University of the Arts

Paul Ackroyd External examiner, University of Northumbria, Conservation of Fine Art Department Visiting lecturer, The Courtauld Institute of Art, Conservation and Technology Department

Penelope Baker Member of the BSI Business Information: FOI (Freedom of Information) Editorial Board

Rachel Billinge Member of the ‘user group’ for the Technical Documentation of Works of Art Project at the Rijksbureau voor Kunstistorische Documentatie (RKD) in The Hague, The Netherlands

Frank Brown Museums and Galleries Energy and Carbon Forum (MAGEC) – Membership and Governance Group

Lorne Campbell Member of the Consultative Committee, The Burlington Magazine Member of the advisory committee for the cleaning of Memling’s Christ between Singingand Music Making Angels, Koninklijk Museum voor Schone Kunsten, Antwerp

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Voorzitter, wetenschappelijk comité, organising the exhibition Rogier van der Weyden, ca. 1400–1464 – De Passie van de Meester, to be held at the Stedelijk Museum Van der Kelen-Mertens, Leuven, 2009

Jessica Collins Member of ARLIS/UK and Ireland (Art Libraries Society) Visual Archives Committee

Alan Crookham Member, Museums and Galleries Archivists Group Treasurer, Museums and Galleries History Group

Jill Dunkerton

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Professeur invité at the INHA (Institut de l’Histoire de l’Art), Paris

Susan Foister Member of advisory panel of Public Catalogue Foundation Member of the Board of Advisors, Renaissance Studies Visiting lecturer, University of Cambridge, Department of History of Art Supervisor of D.Phil student, University of Oxford, Department of History of Art Guest curator, Holbein in England exhibition, Tate Britain

Louise Govier Editorial Board of The Art Book

Sara Hattrick President of the Association for Historical and Fine Art Photography Co-organiser of the ‘2005 Symposium on Museum and Imaging Technology’ National Museum of Modern Chinese Literature, Beijing. An international collaboration between The China Cultural Relics Academy Photographic Committee and The Association for Historical and Fine Art Photography

Elspeth Hector Honorary Treasurer, ARLIS/UK & Ireland (Art Libraries Society) Member of ARLIS/UK & Ireland (Art Libraries Society) 2006 Annual Conference Planning Group Member of London Library Committee on the History of Art Member of London Museums Librarians and Archivists Group

Catherine Higgitt Examiner for PhD thesis, AMOLF, University of Amsterdam, The Netherlands

Karen Hosack Member of the National Directory of Expert Advisers for the Heritage Lottery Fund

Steve Inman Museums and Galleries Energy and Carbon Forum (MAGEC) – Funding and Communications Group.

Nancy Ireson Teaching Assistant, Courtauld Institute of Art Guest Lecturer, University of Cambridge, Department of History of Art, February 2006 Guest Lecturer, University of Bristol, Centre for the Study of French Visual and Literary Cultures, April 2006 Advisor to the National Gallery of Art, Washington, for the documentary Henri Rousseau: Jungles in Paris, filmed Autumn 2005

Jo Kirby Editor of Dyes in History and Archaeology Member of panel advising on the conservation of Memling’s Christ with Singing and Music-Making Angels, Koninklijk Museum voor Schone Kunsten, Antwerp Assistant coordinator of ICOM-CC Working Group (probationary) Art Technological Source Research (2005–2008) Member of Technical Committee for International Institute for Conservation Congress, 'The Object in Context – Crossing Conservation Boundaries', 28 August–1 September 2006, Munich Germany

Christopher Riopelle External interviewer, 1850–1950 curatorial search committee, National Gallery of Ireland, Dublin, October 2005 Getty Curatorial Research Fellowship, for preparation of National Gallery Catalogues: The Nineteenth Century, volume one, June–September 2005

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Member of Exhibitions Committee, Canada House, London

Ashok Roy Member of the Advisory Council, Hamilton Kerr Institute, University of Cambridge Member of the governing board of the EU-ARTECH project (EU project R113-CT-2004) Member of the International Advisory Board of the Courtauld Institute Research Forum

Axel Rüger Member of the Programme Committee of CODART (International Council of Curators of Dutch and Flemish Art) Fellow, Clore Leadership Programme, until August 2006 Member of the Executive Committee of the Association of Low Countries Studies in the UK (ALCS) since September 2005

Nigel Semmens Member of the Promotion Committee, The Worshipful Company of Goldsmiths

Marika Spring Member of the Board of Studies for the Conservation of Easel Paintings Course at the Courtauld Institute of Art.

Angela Thompson Member of ICON Book & Paper Group sub-committee on Meetings and Conferences Co-organiser of the ‘2005 Symposium on Museum and Imaging Technology’ National Museum of Modern Chinese Literature, Beijing. An international collaboration between The China Cultural Relics Academy Photographic Committee and The Association for Historical and Fine Art Photography

Colin White Member of the Committee of the Association for Historical and Fine Art Photography Visiting Lecturer Kings Digital Consultancy Services (KDCS), Kings College, London Co-organiser of the ‘2005 Symposium on Museum and Imaging Technology’ National Museum of Modern Chinese Literature, Beijing. An international collaboration between The China Cultural Relics Academy Photographic Committee and The Association for Historical and Fine Art Photography

Humphrey Wine Member of the Council, Ben Uri Society Member of the National Directors’ Conference Working Group on the Spoliation of Works of Art during the Holocaust and World War II Period

Martin Wyld Trustee, Dulwich Picture Gallery External examiner, Courtauld Institute of Art External examiner, Hamilton Kerr Institute Member of the Advisory Committee for the Restoration of Rogier van der Weyden’s Seven Sacraments in Antwerp Member of the Committee, Heritage Conservation Trust Member of the Court of the Royal College of Art Member of the Wallace Collection Picture Conservation Panel

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Private Funding of the Gallery Each year the National Gallery depends to an ever greater extent on the support it receives from the private sector. The maintenance and development of the building, and the activities of almost every department, are now possible only because of the generosity of the Gallery’s private supporters. To all the private individuals, trusts and companies listed on the following pages (and to those who have chosen to remain anonymous) the Gallery owes an enormous debt of gratitude.

Substantial commercial and individual support has, as in previous years, been found for all Sainsbury Wing exhibitions. At the start of the year Caravaggio The Final Years was supported by the American Friends of the National Gallery, London, as a result of a generous grant from Howard and Roberta Ahmanson. This was followed by Stubbs and the Horse which was supported, most appropriately, by Juddmonte Farms. In the autumn Rubens: A Master in the Making was sponsored by Shell. The Gallery’s major spring exhibition, Americans in Paris 1860–1900, was sponsored by Rothschild, their first exhibition sponsorship at the National Gallery. The exhibition of prints by Mary Cassatt that took place in Room 1 over the same period was sponsored by Schlumberger.

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During the year, the Gallery celebrated the 21st anniversary of The Bernard Sunley Charitable Foundation’s support of the programme of exhibitions in the Sunley Room. The generous annual grant given by the Foundation provides support for all the Sunley Room shows, making possible an interesting and varied programme of free exhibitions. In addition to the support given by the Bernard Sunley Charitable Foundation, the exhibition of the work of Associate Artist John Virtue, was sponsored by Hiscox plc, with additional support for the catalogue coming from the University of Plymouth.

2005 marked the final year of the current Touring Partnerships programme, through which major paintings from the Gallery’s permanent collection are shown outside London. Generously supported by the Heritage Lottery Fund and the Esmée Fairbairn Foundation, the exhibition The Stuff of Life travelled to Bristol City Museum & Art Gallery, and the Laing Art Gallery, Newcastle upon Tyne before being shown at the National Gallery. As a result of the huge success of this project, the Gallery and its regional partners have been able to secure additional funding from these same funders for a further three years, from 2006–08, with the Northern Rock Foundation also agreeing to support the programme.

The Gallery also received support for the exhibitions programme from the Samuel H. Kress Foundation, which awarded a generous grant to the Gallery’s exhibition, Reunions: Bringing Early Italian Paintings Back Together, held in Room 1. The display of Renaissance sculptures from the Victoria and Albert Museum within the Gallery’s permanent collection in the Sainsbury Wing was supported by Daniel Katz Ltd and the AFNGL thanks to a generous donation from Jonathan and Ute Kagan.

The important and diverse work of the Gallery’s Education Department remains an area of Gallery activity that is particularly dependent on the support of the private sector. Over the last year the DCMS and DfES’s joint National/Regional Museum Partnerships Education Programme has given further support to Take One Picture North East South West which will enable the Gallery to work with regional partners and Initial Teacher Training providers to develop regional projects based on the hugely successful Take One Picture model.

Take One Picture itself, an initiative that encourages primary school teachers from all over the country to use paintings from the Gallery’s collection as a tool for cross-curricular learning, continues to develop thanks to the invaluable support of Christoph and Katrin Henkel and The Dorset Foundation. The Take One Picture website is also generously supported by Alliance and Leicester.

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The Elizabeth Cayzer Charitable Trust has continued its longstanding support for the specialist colloquia which accompany the Gallery’s exhibitions with Caravaggio: The Final Years and Americans in Paris, 1860–1900 over the last year. A special conference held in connection with Americans in Paris was generously supported by The Thornton Foundation. And this year saw the very welcome return to the Gallery of the Belle Shenkman Music Programme.

The Gallery’s outreach programme continues to grow and is made possible in large part by support from the private sector. The John S Cohen Foundation has continued its longstanding and generous support of the Gallery with a further grant towards Take Art, a project which enables young people in hospital schools to enjoy and learn about great paintings from the National Gallery’s collection. Bullwood Hall, a project which sees artists and Gallery staff hold workshops with young female offenders in Southend, has also received a second year of support from the LankellyChase Foundation. John Lyon’s Charity funded Line of Vision, a project working with young people in care, for a third year and Newby Trust Ltd. has generously supported the Gallery with a grant towards its holiday activities for teenagers.

Arts Council England has been a key supporter over the last year funding an architecture trail, created to mark Architecture Week in the summer of 2005 and the very successful Inspire Cultural Diversity Fellowship scheme which involves curators from minority ethnic backgrounds holding two-year placements in some of the UK’s major national cultural institutions. Arts Council England has also agreed to support an exciting collaboration with Festival of Youth Arts (FYA) to take place in the summer of 2006 which has also been generously supported by the Bagri Foundation, National Children’s Bureau and John Lyon’s Charity through their involvement with the Line of Vision project.

The Gallery is dedicated to improving access to its collection and many private supporters have helped the Gallery this year to achieve this aim. The D’Oyly Carte Charitable Trust continued to support the programme of events for British Sign Language users, and the Lynn Foundation generously made a donation towards Art Through Words, a series of events for visitors with a visual impairment. The ADAPT Trust also supported the installation of handrails in Jubilee Walk, the outdoor passage between the Gallery’s main building and the Sainsbury Wing.

The Scientific Department continues to be involved in a number of collaborative and internationally significant research projects which receive external funding, most notably this year from the Commission of the European Communities and the Leverhulme Trust.

Publications have continued to receive generous funding from private individuals, with the Technical Bulletin receiving support from the American Friends of the National Gallery, London, as a result of a generous donation from Mrs Charles Wrightsman and the Gallery’s programme of catalogues continuing to be supported by the American Friends as a result of a generous donation from Arturo and Holly Melosi through the Arthur and Holly Magill Foundation.

The Gallery is, as ever, indebted to the many private supporters who support posts at the Gallery. Mr Shigeru Myojin, the Pidem Fund and The Dorset Foundation support posts in the Curatorial Department and the Getty Foundation this year funded two Curatorial Research Fellowships for Gallery curators.

And finally, the Gallery is extremely grateful to an anonymous donor who, since the re-opening of the Gallery’s main Portico Entrance, generously provides funds for the wonderful fresh flowers displayed there.

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East Wing Project The year saw the completion of the Gallery’s East Wing Project, described more fully on pages 43–44. This transformation of the east side of the building was only possible as a result of the very great generosity of the individuals and organisations listed below: 29th May 1961 Charitable Trust Professor Dawn Adès, FBA, OBE American Friends of the National Gallery, London The Annenberg Foundation Arts Council, England – Regional Arts Lottery Programme The Band Trust Charles and Leonie Booth-Clibborn Deborah Loeb Brice Foundation Simon Burke The Clore Duffield Foundation The Clothworkers' Foundation Mr Nicholas Crace Mr & Mrs Karl H. Dannenbaum DCMS/Wolfson Museums & Galleries Improvement Fund Conrad Dehn QC Mrs Conrad Dehn Sir Harry and Lady Djanogly The Dulverton Trust Maurizio and Janet Dwek Mr James Fenton and Mr Darryl Pinckney The Foyle Foundation The Ann and Gordon Getty Foundation Mr Mark Getty Sir Paul and Lady Girolami Nicholas and Judith Goodison Mr and Mrs Toby Greenbury Mr and Mrs Thomas Griffin Bendor Grosvenor Christoph and Katrin Henkel Heritage Lottery Fund Hewlett Packard Company Lady Hopkins Sir Martin and Lady Jacomb Lord Kerr Oscar and Margaret Lewisohn Professor and Mrs Anthony Mellows Mrs Carol Michaelson Mr Donald A. Moore W. Nagel and Family Madeleine and Timothy Plaut Barbara, Lady Poole The Rayne Foundation Lord and Lady Rothschild The Audrey Sacher Charitable Trust The Basil Samuel Charitable Trust Mr and Mrs James Sassoon Mr Peter Scott QC Martin and Elise Smith

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Mr Jon Snow Sir Colin and Lady Southgate Hugh and Catherine Stevenson Sir Angus and Lady Stirling Mr Peter Stormonth Darling The Thornton Foundation Laura and Barry Townsley Miss Joanna Warrand The Weston Family The Wolfson Family Charitable Trust

Corporate Membership The National Gallery’s Corporate Membership programme has been restructured this year to provide a more attractive benefits package. This has led to an increase in the number of companies joining, as well as an increase in those companies committing to membership for three years. The corporate membership programme provides a vital source of unrestricted income which each year helps the Gallery to fund programmes across all areas of its activity. We would like to thank the following companies for their generous and loyal support:

Corporate Benefactors Allen & Overy LLP Apax Partners Worldwide LLP Credit Suisse Ernst & Young Fortress Investment Group GlaxoSmithKline HSBC Holdings plc Lloyds TSB Merrill Lynch Océ Simmons & Simmons Slaughter and May

Corporate Contributors ABN AMRO Anglo American plc Barco Bloomberg BNP Paribas Booz Allen Hamilton Champagne Jacquesson Cinven Deutsche Bank The Diamond Trading Company Farrer & Co GE Goldman Sachs International KBC Bank NV Land Securities Latham & Watkins Lazard Lehman Brothers Moody’s Investors Service Morgan Stanley

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Prudential plc Quintain Estates and Development Reed Elsevier Rio Tinto Sarasin Chiswell Spencer Stuart Standard Chartered Bank UniCredito Italiano Spa Wates Group

Honorary Members Alliance & Leicester Shell

The George Beaumont Group

The National Gallery is more grateful than ever to the George Beaumont Group for the support shown by its members, several of whom made particularly generous donations in 2005–2006. We are delighted to announce that untied funds received have been put towards the purchase of Adolph Menzel’s An Afternoon in the Tuileries Gardens. Further details of this important acquisition can be found on pages 16–17.

Support of the Senior Curatorial Endowment shows no sign of slowing down. In 2005–2006, five individuals made significant donations and pledges to support it and were in turn made Life Members of the George Beaumont Group. This brings the total number of Life Members to 34, and the amount raised to date to a total of over £1.5 million. Early Netherlandish scholar Dr Lorne Campbell continues in the post of Beaumont Senior Research Curator.

We are extremely grateful to the Beaumont Committee for their guidance, and to all of those individuals who have supported the Gallery through the George Beaumont Group over the past year.

Committee Lady Lever (Chairman) Lady Alexander of Weedon Mr Christophe Gollut Mrs Christoph Henkel Mr Bernard Hunter Mr Michael Sacher

Life Members Anonymous Mr & Mrs Marcus Agius Lady Alexander of Weedon Mr & Mrs Harold Blatt Mr & Mrs Charles Booth-Clibborn Mr Ivor Braka Mrs Deborah Brice Sir Ronald & Lady Cohen Michael & Licia Crystal Sir Harry & Lady Djanogly Mr Johannes de Gier Mme Alice Goldet Sir Nicholas & Lady Goodison Mr & Mrs Thomas Griffin Sir Joseph Hotung

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Mr & Mrs James Kirkman Lady Lever Mr & Mrs Michael Mackenzie Mr Donald Moore Mr & Mrs Shigeru Myojin Ms Araceli Navarro Mr Leopold de Rothschild CBE Mr & Mrs Jeremy Sacher Mr & Mrs John Sacher Mr & Mrs Michael Sacher Mr & Mrs Anthony Salz Mr Adrian Sassoon Mr & Mrs James Sassoon Mr & Mrs Nicholas Stanley Hugh & Catherine Stevenson The Lady Juliet Tadgell Mr & Mrs Richard Thornton Mr & Mrs Michael Zilkha

Members Anonymous Lady Agnew Mr & Mrs Julian Agnew Mr Gerard Arnhold Lord & Lady Ashburton Mr Edgar Astaire Mr & Mrs Angus Aynsley Sir Jack & Lady Baer Dr Bettina Bahlsen Lord & Lady Balniel Mr & Mrs Nicholas Baring Mr & Mrs Robin Baring Mr James & Lady Emma Barnard Mr Jean-Luc Baroni Mr & Mrs Stephen Barry Mr & Mrs Sid Bass Mr Peter Bazalgette & Ms Hilary Newiss The Duke of Beaufort Sir George Beaumont Mr & Mrs Elliott Bernerd Mr & Mrs Konrad Bernheimer Mr Andrew Blackman & Mr Richard Smith Mr & Mrs Benjamin Bonas Mr Mark Brockbank Mr & Mrs Patrice de Camaret Mr Charles Cator The Marchese & Marchesa Cattaneo Adorno The Marquess of Cholmondeley Dr David Cohen CBE Mrs Denise Cohen Mrs Veronica Cohen Dr Judy Collins & Ms Barbara Lloyd Mr Richard Collins Mr Juan Corbella

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Mr & Mrs Karl Dannenbaum Mrs Mary Moore Danowski The Countess of Dartmouth Mr & Mrs Michel David-Weill Baron & Baroness Willem van Dedem Mr & Mrs Conrad Dehn Polly Devlin OBE The Marquess & Marchioness of Douro Dame Vivien Duffield Mrs Maurice Dwek The Hon Edward & Mrs Elson Mr & Mrs Louis Elson Mr & Mrs Stephen Fein Mr & Mrs Nicholas Ferguson Sir Ewen & Lady Fergusson Mrs Margaret Floyd Mr & Mrs Michael Fowle Mr & Mrs Eric Franck The Hon Andrew Fraser Miss Haruko Fukuda Mr & Mrs Bamber Gascoigne Lord & Lady Gavron Mr Christopher Gibbs The Hon Clive & Mrs Gibson Sir Paul & Lady Girolami Mr & Mrs Robert Goldspink Mr Christophe Gollut Mr & Mrs Johnny Van Haeften Lady Hamlyn Sir Max Hastings Mr & Mrs Christoph Henkel Mr Jacques Hennessy Lady Heseltine Miss Marianne Hinton Mr Niall Hobhouse Philip & Psiche Hughes Mr Bernard Hunter Lady Jacomb Mr & Mrs Derek Johns Mr & Mrs Robert Johnson Mr & Mrs Daniel Katz Mr Ivan Katzen Lady Kaye Sir Sydney & Lady Kentridge Mr Henry & The Hon Mrs Keswick Mr & Mrs Peter Klimt Mrs Yvonne Koerfer Mr & Mrs David Koetser Dr Antony & The Hon Mrs Laurent Mr & Mrs Peter Leaver Mrs Catarina Leigh-Pemberton Mr David Leventhal Mrs Cecil Lewis Ms Laura Lindsay

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Sir Sydney & Lady Lipworth Dr & Mrs José-Ramón López-Portillo Ms Daniella Luxembourg Mr Keir McGuinness Sir Denis Mahon Mr & Mrs Walter Marais Lord & Lady Marks of Broughton Marina, Lady Marks Mr & Mrs James Mayor Mrs Carol Michaelson Mr & Mrs John Morton Morris Mr William Mostyn-Owen & Miss Jane Martineau Mr William Northfield Viscount & Viscountess Norwich Sir Christopher Ondaatje CBE & Lady Ondaatje Mr & Mrs Nicholas Oppenheim Mrs John Ormond Mr & Mrs Jan-Eric Österlund Mr Kevin O’Sullivan & Miss Victoria Glendinning Mrs Felicity Owen Mr & Mrs Simon Palley Sir Michael & Lady Perry Mr & Mrs Ugo Pierucci Mr & Mrs Godfrey Pilkington Mr & Mrs Timothy Plaut Barbara, Lady Poole The Countess of Portsmouth Lady Rayne Lord & Lady Rothschild Dr & Mrs Mortimer Sackler Lord & Lady Sainsbury Mr & Mrs James Sainsbury The Hon Simon Sainsbury Sir Timothy & Lady Sainsbury Lady Samuel Mrs Coral Samuel CBE Mr & Mrs Victor Sandelson Mrs Sylvia Scheuer Mr & Mrs Henrik Schliemann Mr Peter Scott QC The Countess of Shaftesbury The Hon Richard & Mrs Sharp Miss Dasha Shenkman Mr & Mrs Michael Simpson Lady Solti Mr & Mrs Peter Soros Sir James & Lady Spooner Sir Angus & Lady Stirling Mr Peter Stormonth Darling Mr James Swartz Mr & Mrs Hugo Swire Sir Anthony & Lady Tennant Mr & Mrs Max Ulfane Mr & Mrs Leslie Waddington

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Mr & Mrs Ludovic de Walden The Hon Mrs Simon Weinstock Mr David Wertheim & Ms Eva Wisemark Mrs Garry Weston CBE Mr Jeremy Willoughby OBE Mr Maurice Wohl Mr & Mrs Henry Wyndham

Supporters and Benefactors of the National Gallery

The Director and Trustees would like to thank the following, and those who wish to remain anonymous, for their generous support of the National Gallery during the period 1 April 2005 to 31 March 2006. The ADAPT Trust Mr Bashar Al Hamad Alliance & Leicester Altajir Trust American Express Company American Express Foundation The Fagus Anstruther Memorial Trust Arts Council, England Bagri Foundation Blackwall Green (Jewellery and Fine Art) Miss A R Bower The Elizabeth Cayzer Charitable Trust Professor & Mrs Richard Clarke Sir Ronald & Lady Cohen The John S. Cohen Foundation The Commission of the European Communities Constantine Ltd Dr Peter Corry Lynette & Robert Craig Deutsche Bank AG The Dorset Foundation Miss Ann Douglas Mr & Mrs Colin R Evans Norma Evison ExxonMobil Mrs Margaret Floyd, Miss Elizabeth Floyd and Mrs Caroline Coaker in memory of Mr Jo Floyd The Getty Foundation Mme Alice Goldet Ms Cheryl D Harris Harvard University Mr & Mrs Christoph Henkel Heritage Lottery Fund Hewlett Packard Company Mrs Diane Hughes Robin & Inge Hyman Juddmonte Farms Daniel Katz Ltd Lady Kaye The Samuel H. Kress Foundation The LankellyChase Foundation The late Cecil Lewis Tim & Theresa Lloyd

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London Region Arts Club The Lynn Foundation John Lyon's Charity Sir Denis Mahon St Margaret's C of E Primary School Mr Yaron Meshoulam and Mr Yair Meshoulam The Millichope Foundation Mr Shigeru Myojin The National Art Collections Fund Newby Trust Limited Professor Emeritus Michael Oliver CBE FRSE Pidem Fund The Pilgrim Trust Rothschild Schlumberger Shell Mr and Mrs William Shenkman and Miss Dasha Shenkman in memory of General Desmond Smith and Belle Shenkman The Bernard Sunley Charitable Foundation The Thornton Foundation Mrs R. P. Tyler Mr Guy Voyce Mr & Mrs Ludovic de Walden Anne & David Weizmann Mrs Gary Weston CBE Mr & Mrs Dave H Williams

Generous donations to the American Friends of the National Gallery, London Inc. Anonymous Howard and Roberta Ahmanson The Annenberg Foundation Dr Alfred Bader R. Palmer Baker Jr. Mr and Mrs Harold Blatt Mr & Mrs Charles Booth-Clibborn Mr D. Ronald Daniel Miss Marianne Hinton Mr Jonathan Kagan and Mrs Ute W Kagan David and Sarah Kowitz through the Kowitz Family Foundation The Samuel H. Kress Foundation Mr David Leventhal Arturo and Holly Melosi through the Arthur and Holly Magill Foundation Mrs Sylvia Scheuer Andrew Wallace Solomon Mr & Mrs Peter Soros Mrs Charles Wrightsman Cynthia Wu Nina and Michael Zilkha through the Nightingale Code Foundation

The National Gallery's Legacy Programme

The National Gallery is extremely grateful to all those individuals who showed generosity and foresight in remembering the Gallery in their wills. Most of these gifts were given without any restrictions being placed on them, therefore allowing the Gallery to allocate the funds where the need is greatest.

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One remarkable donor was the late Sir James Colyer-Fergusson, whose Still Life with Lemons and Oranges by Luis Meléndez came to the Gallery in 2005–2006 under the Government’s Acceptance-in-Lieu scheme. Details of this acquisition can be found on pages 12–13.

As a way of acknowledging our gratitude towards all those who have made bequests – whether large or small – to the Gallery, we have a memorial book of thanks on permanent display in the vestibule inside the Sir Paul Getty Entrance.

If you would like to find out more about leaving a legacy to the National Gallery, please contact Elizabeth Rabineau on 020 7747 5872, or email development@ng-london.org.uk Please be assured that any enquiries will be treated in strict confidence. Copies of the leaflet entitled A Lasting Legacy: Leaving a Gift to the Nation in Your Will are also available from Information Desks within the Gallery.

Bequests to the National Gallery Miss Dorothy Jessie Bishop Miss Barbara Yvonne Brown Mr Richard Godfrey Lynham Miss Phyllis Mary Small

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Financial Information Government Grant in Aid remains the Gallery’s principal source of funds. For the year ended 31 March 2006, the Gallery’s Grant in Aid for running costs was £20.986 million. An additional capital grant of £1 million was made to assist the Gallery in funding ongoing essential capital work. The funding profile can be seen in figure 1.

Private income continues to be vital to the future well-being of the Gallery. So many of the Gallery’s programmes from exhibitions to outreach work are only possible as a result of the support of the corporate sector, trusts and foundations, and private individuals.

Incoming resources for 2005/6 include significant income from the gala dinner and auction held in March, generous legacies, and income from the successful corporate membership scheme. While substantial commercial and individual support was secured for all Sainsbury Wing exhibitions, the impact of the decline in visitor figures following the July 2005 bombings was reflected in a fall in income from exhibitions admissions and education events, leading to an overall fall in incoming resources from charitable activities.

This year the Gallery has maintained a level of total charitable expenditure comparable with, but slightly higher than, the prior year. As a result of continued efficiencies the Gallery has been able to expand its programme of activities and absorb a number of cost increases, most significantly higher contributions to the pension scheme (£468k) and rising utility costs and rates (£365k), both unavoidable increases that will continue to put pressure on the Gallery’s finances in the coming years.

The vitality of the collection depends on continuing acquisitions. Over recent years the Gallery has succeeded in many imaginative ways to enhance the collection through acquisitions and loans.

Five Year Summary Income and Expenditure

20062005

(restated)1 2004 2003 2002

£’000 £’000 £’000 £’000 £’000

Incoming resources

Grant in Aid 21,986 21,257 20,449 20,449 19,949

Other government grants 145 145 139 - -

Other operating income 5,351 6,012 5,064 3,953 4,400

Sponsorship and donations 3,186 3,309 4,353 4,502 2,321

Lottery funding 60 966 53 28 38

Picture grants - - - 25 -

Investment income 1,099 1,132 871 751 822

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Bequests 355 296 48 13 169

32,182 33,117 30,977 29,721 27,699

Resources expended

Direct charitable expenditure 26,932 25,580 24,837 24,476 25,069

Other expenditure1 1,158 918 501 535 491

28,090 26,498 25,338 25,011 25,560

Net incoming / (outgoing) resources 4,092 6,619 5,639 4,710 2,139

Donations relating to capitalised collection acquisitions since April 20013 2,240 6,668 35,608 1,210 4,152

Gain / (loss) on revaluation2 20,946 10,497 9,317 4,831 3,653

Realised / unrealised investment gains 3,376 1,465 2,562 (3,922) (265)

Net movement in funds3 30,654 25,249 53,126 6,829 9,679

Balance Sheet

20062005

(restated)1 2004 2003 2002

£’000 £’000 £’000 £’000 £’000

Fixed assets

Tangible assets Land, buildings and equipment2 210,004 187,678 168,080 154,858 148,982

Picture purchases since April 20013 55,063 51,801 44,425 8,669 7,001

Investments 22,155 19,107 17,799 14,653 18,008

287,222 258,586 230,304 178,180 173,991

Current assets

Investments 1,479 1,417 1,358 1,323 1,289

Trade debtors 466 488 506 794 470

Other debtors 854 883 1,266 395 1,352

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Prepayments & accrued income 527 756 548 1,343 1,101

Stock 1 2 2 2 -

Cash at bank and in hand 4,521 3,421 6,307 4,484 1,129

7,848 6,967 9,987 8,341 5,341

Liabilities < I year

Trade creditors (411) (617) (2,206) (1,940) (1,702)

Other creditors (720) (262) (173) (182) (151)

Accruals & deferred income (889) (2,256) (179) (96) (169)

(2,020) (3,135) (2,558) (2,218) (2,022)

Total assets less currentliabilities

293,050 262,418 237,733 184,303 177,310

Liabilities > 1 year (97) (119) (142) (164) -

Provisions - - (326) - -

Net assets 292,953 262,299 237,265 184,139 177,310

Notes

1. The accounts for 2005/6 were prepared under the Charities Statement of Recommended Practice 2005, and the figures for 2004/5 have been restated accordingly. The most significant changes are the allocation of support costs to individual activities, and the separate analysis of governance costs. Governance costs are included here for 2004/5 and 2005/6 under the heading ‘other expenditure’.

2. In accordance with Treasury requirements, land and buildings were valued on a depreciated replacement cost basis at 31 March 2004. The valuation was updated by Atis Real as at 31 March 2006 and the value of land and buildings, and plant and machinery was adjusted to reflect this. The Trustees consider the building to be effectively inalienable; it would not be possible to realise its value.

3. Since 1st April 2001, the Trustees have been required to show new acquisitions as an asset on the balances sheet, rather than as expenditure. The trustees believe this to be an inappropriate accounting treatment as the collection is inalienable and truly ‘priceless’ in that it cannot be valued meaningfully, and it is therefore misleading to capitalise a portion of the collection, bought after an arbitrary date at an arbitrary value of cost at date of acquisition. Furthermore, whilst the income with which pictures are acquired is shown in the Income and Expenditure account, the cost of acquiring those pictures is capitalised and therefore does not appear. This creates the misleading impression of a surplus in-year and consequent unrestricted reserves carried forward into the future, whereas in reality the funding has already been used to acquire an inalienable asset. The National Gallery is strongly in favour of the proposals outlined in the recent ASB Discussion Paper Heritage Assets: Can accounting do better? It recommends an approach which in terms of the practicalities of disclosure will address almost all of our concerns about the existing accounting treatment. It will result in clear, consistent, transparent disclosure, which will be

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significantly enhanced by information that will enable a reader of the accounts to assess the nature and significance of the collection in our care and the quality of our stewardship.

4. The financial information outlined here is a summary of the information in the National Gallery Accounts 2001/2–2005/6. It does not contain sufficient information to allow a full understanding of the state of affairs of the National Gallery. It is not a set of statutory accounts but has been derived from statutory accounts. The audited National Gallery Account 2005/6 may be obtained from The Stationery Office at www.tso.co.uk.

Annual average income (2001/2 - 2005/6) Income Source Amount

Investment income £0.9m

Grant in Aid £20.8m

Other operating income £15.4m

Sponsorship and donations £3.5m

Gallery attendance figures Monthly attendance figures, rounded up to the nearest 1,000. These figures are recorded manually and are necessarily approximate

April 2005 455,000

May 2005 417,000

June 2005 276,000

July 2005 332,000

August 2005 268,000

September 2005 277,000

October 2005 300,000

November 2005 330,000

December 2005 297,000

January 2006 291,000

February 2006 316,000

March 2006 395,000

Total 3,954,000

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Operating expenditure 2005/6 Expenditure Amount

Study of the Collection £2m

Care of the Collection £11.2m

Governance costs £0.1m

Costs of generating funds £1m

Access to the Collection £10.4m

Educational activities £1.3m

Exhibitions £2m

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National Gallery Company Limited National Gallery Company Limited (NGC) contributes financially to the National Gallery and generates profits for the National Gallery Trust. The Company provides a range of commercial services, publications and products designed both to enhance the experience of visitors to the Gallery and to reflect and extend the Gallery’s educational and scholarly objectives and activities. NGC is owned and operated by the National Gallery Trust.

The Company’s principal source of revenue comes from the shops that it operates in the Gallery. In addition, other income is generated through the distribution of NGC’s books worldwide by Yale University Press, through Picture Library sales, external sales (e-commerce, trade sales and mail order) and restaurants and cafés in the Gallery.

It has been a busy and challenging year for the organisation in terms of trading and strategic projects. Profit from trading was £636,000 (04/05 £1.15m) after contributions to the Gallery of £866,000 (04/05 £950,000).

Income generated via the Gallery Shops was 22% down against the previous financial year, broadly in line with the downturn in visitors to the Gallery. Average spends per visitor were 3% down against the previous year; encouragingly, conversions rose by 1% over the year to 16%. Overall NGC achieved sales of £6.65m, with major contributions from external publishing sales, catering and royalties from the National Gallery Picture Library.

Improving the quality and experience of the shops and restaurants in the Gallery remains core to NGC’s activities and this year three major strategic capital projects were implemented, designed to better serve the visitor and, therefore, generate increased income for the group.

In February 2006 we opened the refurbished Portico shop, in time for the launch of the Mary Cassatt: Prints exhibition in Room 1. The shop is larger, more contemporary and better lit than before and has better exposure, benefiting from a new entrance on the north vestibule of the staircase hall. More space and improved furniture means a broader range of merchandise for Gallery visitors. Initial trading results are encouraging, 30% better than the same period in 2004/2005.

In the same month we launched the National Dining Rooms, the new restaurant on Level 1 of the Sainsbury Wing. The restaurant is operated by Oliver Peyton’s Gruppo and was designed by David Collins; the bakery and restaurant menus, service and design have all had deserved critical review. In addition to the restaurant, earlier in the financial year we opened a new espresso bar in conjunction with the re-opening of the new Portico Entrance. The bar is operated by digby trout restaurants, who also operate the Gallery café.

Developments in our online services have also been central to our activity this year. In March 2006 we launched the newlydesigned online shop site (www.nationalgallery.co.uk); the revised site is easier to navigate and markets a wider product range, delivering a better customer experience. In addition, the organisation has been investing in the development of www.nationalgalleryimages.co.uk, our online Picture Library. The site will be launched in May 2006.

It has been a successful year for the publishing team, contributing over £1.2m in Gross Profit. A full list of titles published this year can be found below.

The exhibition catalogue, Rubens: A Master in the Making, was published as a competitively priced paperback at £9.95, as well as a £20 hardback, although the results suggest that low price alone is no guarantee of high volume sales. For Americans in Paris: 1860–1900, we produced hardback and paperback editions and negotiated rights for simultaneous publication of a French edition. Our revenue was enhanced by £320,000 from the sale of

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5500 hardbacks and 14,500 paperbacks to the US venues: the Museum of Fine Arts, Boston, and The Metropolitan Museum of Art, New York. The small catalogue for Mary Cassatt: Prints was reprinted in response to demand. The catalogue for Tom Hunter: Living in Heland Other Stories benefited greatly from the artist’s enthusiasm for working with the Publishing and Production teams to achieve high quality reproduction of his photographs. A beautiful catalogue for Bellini and the East was published in December for the exhibition’s opening at its first venue, the Isabella Stewart Gardner Museum, Boston. Two leaflets were produced to accompany small shows of early paintings, The Westminster Retable: England’s Oldest Altarpiece, and Reunions: Bringing Early Italian Paintings Back Together, and a booklet, Pass on for Paint, has been on sale at the tour venues in Bristol and Newcastle.

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Non-exhibition titles ranged from the popular to the scholarly: a new Pocket Guide: Myths and Legends, the thirteenth in the series, appeared in November and Volume 26 of the National Gallery Technical Bulletin in September. In Beyond the Naked Eye: Details from the National Gal ery, published in December 2005, selected examples of the Gallery’s stunning macrophotography offer superb quality reproductions of minute details from paintings, and the subtleties of the picture surface, invisible in normal viewing conditions.

2005/6 saw the launch of the first two titles in the National Gallery DVD Collection: Early Renaissance Painting: 1250–1450 and British Painting: 1700–1850, as well as DVDs for Take One Picture, Stubbs and the Horse and Americans in Paris: 1860–1900.

NGC’s Directors are positive about prospects for the Company and contributions to the Gallery going forward and expect to deliver substantial contributions to the National Gallery and the National Gallery Trust over the next three-year period.

The Executive Team has been strengthened by the appointment of Mark Hodson as Commercial Director in September 2006 and by Marguerite Jenkin as Finance and Business Support Director in February 2006, replacing Antony Walker who resigned in November 2005. New appointments and structural changes have been introduced within the organisation during the course of the year with good effect and we continue to review how better to shape the organisation for the future and develop and strengthen our existing teams.

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The following titles were published between 1 April 2005 and 31 March 2006:

Exhibition catalogues

Rubens: A Master in the Making David Jaffé and Elizabeth McGrath with contributions from Amanda Bradley and Minna Moore Ede 285 x 245 mm; 208pp; 224 colour illustrations. Cloth £20.00, paperback £9.95. October 2005.

Tom Hunter: Living in Hel and Other Stories Tracy Chevalier and Colin Wiggins 248 x 200 mm; 80pp; 45 colour illustrations. Paperback £9.95. December 2005.

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Bellini and the East Caroline Campbell, Alan Chong, Deborah Howard and J. Michael Rogers 270 x 220 mm; 144pp; 93 colour illustrations. Paperback £14.95. December 2005.

Mary Cassatt: Prints Kathleen Adler 250 x 170 mm; 32pp; 12 colour, 9 b/w illustrations. Paperback £4.95. January 2006.

Americans in Paris: 1860–1900 Kathleen Adler, Erica E. Hirsler and H. Barbara Weinberg with contributions from David Park Curry, Rodolphe Rapetti and Christopher Riopelle 285 x 245 mm; 320pp; 180 colour, 50 b/w illustrations. Cloth £40.00, paperback £25.00. February 2006. French edition published by 5 Continents Editions.

Exhibition leaflets and booklets

The Westminster Retable: England’s Oldest Altarpiece Paul Binski 297 x 210 mm; 8pp; 14 colour illustrations. Paperback £2.50. May 2005.

Reunions: Bringing Early Italian Paintings Back Together Simona Di Nepi 297 x 210 mm; 8pp; 11 colour, 2 b/w illustrations. Paperback £2.50. November 2005.

Passion for Paint (A National Gallery Touring Exhib tion in partnership with Bristol’s Museums, Galleries & Archives Service and Tyne & Wear Museums) Sarah Richardson 297 x 210 mm; 20pp; 28 colour illustrations. Paperback £3.95. January 2006.

National Gallery guides

National Gallery Pocket Guides: Myths and Legends Mari Griffith 120 x 220 mm; 80pp; 75 colour illustrations. Paperback £6.50. November 2005.

Beyond the Naked Eye: Details from the National Gallery Jill Dunkerton and Rachel Billinge

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190 x 195 mm; 80pp; 100 colour illustrations. Hardback £6.95. December 2005.

Academic books

National Gallery Technical Bulletin: Volume 26 Series Editor: Ashok Roy 297 x 210 mm; 104pp; 61 colour, 58 b/w illustrations. Paperback £25.00. September 2005.

DVDs

Early Renaissance Painting: 1250–1450 Written and narrated by Louise Govier DVD. Approx. 50 minutes. £15.00. April 2005.

Take One Picture DVD. Approx. 3 hours. £15.00. April 2005.

Stubbs and the Horse Written by Natasha Podro; narrated by Clare Balding DVD. Approx. 40 minutes. £15.00. June 2005.

British Painting: 1700–1850 Written and narrated by Louise Govier DVD. Approx. 50 minutes. £15.00. August 2005.

Americans in Paris 1860–1900 Written and narrated by Kathleen Adler DVD. Approx. 25 minutes. £15.00. February 2006.

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National Gallery Company Staff As at March 2006

National Gallery Company Board as at 31 March 2006 Simon Burke (Chairman) Nigel Wreford-Brown Barbara Barrett Susan Foister John MacAuslan Julie Molloy Kate Barker Kate Bell Mark Hodson Marguerite Jenkin

Managing Director Julie Molloy

Finance & Business Support

Finance & Business Support Director Marguerite Jenkin

Finance Manager Sian Sadler

Payroll Supervisor Linda Lewis

Credit Controller Jennifer Scarre

Cashier Claire Gosling

IT Manager Richard Cross

Finance and Operations Assistant Kevin Wood

Human Resources Advisor Gillian Warne

Receptionists/ Typists Babs Millington (part time) Susan Bowers (part time)

Housekeeper Maria Victoria Gabriel

Warehouse Manager Keith Durtnall

Warehouse Assistant (part time) Peter Barnes Adam Foulds

Publishing

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Publishing Director Kate Bell

Senior Editor Jan Green

Project Editor Tom Windross

Project Editor Claire Young

Publishing Administrator Molly Taylor

Senior Picture Researcher & Co-ordinator Suzanne Bosman

Picture Researcher Kim Klehmet

Picture Researcher, Scholarly

Catalogues (part time) Joanne Anderson

Production Manager Jane Hyne

Production Controller Penny Le Tissier

Merchandise

Merchandise Director Kate Barker

Head of Buying Stephen Lennon

Buyer, Paper Product Samantha Everitt

Buyer, 3D Product Helena Lawrence

Buyer, Outside Books Emma Ambrose

Designer Reena Kataria

Merchandiser Rachel Atkinson

Buying Administrator (fixed term part time) Rosie Sekers

Visual Merchandise Consultant Jane Le Bon

Visual Merchandiser Winnifred La Val

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Visual Merchandise Assistant Sophie Bence

Marketing and Communications

Planner Richard North

Commercial Team

Commercial Director Mark Hodson

External sales

e-commerce Manager John Flack

e-Commerce Assistant Emmet Keane

e-Commerce Assistant (part time) Frances Burden

Picture Library

Picture Library Manager Belinda Ross

Accounts Executive Margaret Daly

Senior Accounts Executive Rebecca Staffolani

Photographic and Rights Handler for Academics Buyer for 35mm Slides Vivien Adams

Retail

Retail Manager Soe Da Costa Miyanda Nehwati (fixed term cover)

Retail Manager (part time) Robert Dukes

Retail Manager Eileen Sheikh

Forward Stock Controller Andrew Perrell

Retail Supervisors Desmond Glass Tuong Nyugen (part time) Camilla Southall Katy Green

Senior Sales Assistant Heather Hunter

Retail Assistants

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Kimberly Alfaro Suzanne Allatt Affy Athanasiou Felma-Marifi Barbo Rafal Bizunowicz Alison Bray Laura Bradshaw-Heap Charlotte Brown Tim Davies Stella Ditschkowski Matilda Downs Tunji Faronbi Simon Fowler Helena Perez Guerra Jasmine Heydari Lesley Ibbotson Rose Jenner Sandra Knüpfer Eleni Kitsou Gabrielle Le Bayon Fintan MacCarthy Erin O’Malley-Minchell Carolina Alonso Matas Aida Martinez Sanchez Barbara Marziali Michela Monni Anna Monrabal Saray Naidorf Rubini Natsi Tuong Nguyen Elizabeth Offredi Hee-Sook Park Ana Perez De Rada Andrew Perrell Alessandra Prasciolu Kajsa Leo Radstrom Alana Revell Rohr Paul Rickards Rosie Sekers Wendy Sheikh Josep Soldevila Aicha Sow Ali Tareen Marco Ryan Testa Perrine Trebal Cinta Toronjo Danielle Waldman Eugene Wolstenholme

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Members and Committees of the National Gallery Board Trustees (with dates of appointment) Mr Peter Scott QC 1999 (Chairman since January 2000) *Professor Dawn Ades 1998 (until 12.4.2005) Lady Hopkins 1998 (until 29.9.2005) Mr Jon Snow 1999 Mr Mark Getty 1999 Mr Ranjit Sondhi 2000 Professor Julia Higgins DBE 2001 Mr Donald Moore 2001 Lord Kerr of Kinlochard 2002 Mr James Fenton 2002 Mr John Lessore 2003 Mr Simon Burke 2003 Lady Normanby 2004 Professor Mervyn King 2005 *Ms Victoria Barnsley 2005 Professor David Ekserdjian 2005

* Tate Liaison Trustee

Audit Committee Professor Mervyn King (Chairman) Mr Peter Scott Ms Victoria Barnsley Sir Colin Southgate Mr Nick Land

Development Committee Lord Kerr (Chairman) Mr Michael Cornish Mr John Nelson Sir Richard Sykes Mr Timothy Clark Mr Kevan Watts Mr Charles Miller Smith

Finance Committee Professor Mervyn King (Chairman) Mr Peter Scott Ms Victoria Barnsley Sir Colin Southgate Mr Nick Land

Masterplan Committee Mr Peter Scott (Chairman) Lord Kerr Mr Jon Snow Mr Simon Burke Lady Hopkins Sir Colin Southgate Sir Stuart Lipton

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Dr Giles Worsley (until January 2006)

Nominations Committee Mr Peter Scott (Chairman) Mr Jon Snow Lord Kerr Mr James Fenton

Remuneration Committee Mr Peter Scott (Chairman) Mr Ranjit Sondhi Ms Victoria Barnsley

Trust Funds Investment Committee Mr Peter Scott (Chairman) Mr Donald Moore Mr Alastair Ross Goobey

National Gallery Scientific Consultative Group Professor Julia Higgins (Chairman) Sir Rex Richards Professor Nigel Weiss Dr Paul Williams Professor Wendy Hall Professor David Phillips Professor Richard Evershed Dr Sheridan Bowman Dr Andreas Burmester

National Gallery Staff As at March 2006

Director’s Office Charles Saumarez Smith Director Grizelda Grimond Eleanor Richards

Senior Administration John MacAuslan Director of Administration

Curatorial Department Susan Foister Director of Collections Susanna Avery-Quash Xavier Bray Lorne Campbell Dawson Carr Simona Di Nepi Gillian Essam Dillian Gordon Elena Greer Sarah Herring Nancy Ireson David Jaffe

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Giorgia Mancini Minna Moore Ede Carol Plazzotta Sarah Rimmo-Toure Christopher Riopelle Axel Rüger Anne Robbins Luke Syson Humphrey Wine

Libraries and Archive Elspeth Hector Head of Libraries and Archive Joanne Anderson Penelope Baker Alison Bennett Jessica Collins David Cromartie Alan Crookham Isabel Drummond Caroline Fullman Nicola Kennedy Gabrielle St John McAuster Richard Younger

Exhibitions Department Mary Hersov Head of Exhibitions Jo Kent Diana McAndrews Lois Oliver Miranda Stacey

Building and Facilities Department Peter Fotheringham Head of Building and Facilities Anthony Bird Frank Brown Caroline Churchill Robert Cripps Jennifer Davy Robert Harrild Stephen Inman Laura MacDonald John Morrissey Charles Ross Kieran Sweeney Stephen Vandyke Chris White

Communications & Media Clare Gough Director of Communications and Media Danielle Chidlow Nigel Semmens Anna Warrington

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Press and Marketing Karen Bath Louise Butler Rachel Dingsdale Andrea Easey Tracy Jones Rovianne Matovu Vibakka McCoy Razeetha Ram Katie Teasdale

New Media Laura Bixby Jennifer Brown Steve Dale Andrew Doran Carol Hambleton David Jones Joan Lane Marcus Latham Richard Moores Diane Parker Natasha Podro Michael Rodgers Charlotte Sexton

Design Belinda Phillpot Head of Design Sophie Ballinger Sara Jones Christopher Oberon

Conservation Department Martin Wyld Director of Conservation Paul Ackroyd Hazel Aitkin Rachel Billinge David Bomford Jill Dunkerton Sam Ford Larry Keith Anthony Reeve Dave Thomas Tim Henbrey Head of Collections Management

Art Handling Patricia Goddard Head of Art Handling Alan Brooks Raymond Butcher Bethany Ghersie Matthew Kirby Danny Metcalf

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Patrick O’Sullivan Philip Pestell Mark Slattery Ben Sparkes Matthew Thompson Gus Torre-Lopez

Registrars Rosalie Cass Chief Registrar Claire Hallinan Fouad Kanaan Simona Pizzi Sarah Walters

Framing Peter Schade Head of Framing Keith Buddin Louisa Davey Isabella Kocum

Photographic Sara Hattrick Head of Photographic Astrid Athen Ann Byrne Maria Conroy Rachael Fenton Colin Harvey Denise King Aviva Leeman Tom Patterson Angela Thompson Colin White David Wood

Development Office Colin McKenzie Head of Development Angeliki Alexandri Jowdy Davey Catherine Monks Rosalind Pierce Elizabeth Rabineau Holly Vale

Education Department Kathleen Adler Director of Education Karly Allen Nicola Freeman Elizabeth Gilmore Louise Govier Karen Hosack Alexandra Hill

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Isabel Kay Chloe Kendall Anna Linch Andrew Nelson Rachel Owens Helen Poole Lee Riley Colin Wiggins

Finance Department Christopher Yates Director of Finance Jane Ellis Derek Marshall Shahla Patterson Irena Pietrowska Anna Polewaczyk Julian Wakeling Jenny Weaver Jane Whittaker

Human Resources Department Dawn Herlihy Head of Human Resources Daniela Amat Astrid Bijl Helen Dilks Mala Rudki Natalie Sayer

Information Systems Department Len Nunn Head of Information Systems Richard Allen Tahnee Evans Stuart Ewins Sarah Harding Natasha Keshani Andrew Little Roshni Radia

Scientific Department Ashok Roy Director of Scientific Research Jo Atkinson Catherine Higgitt Helen Howard Joseph Padfield David Peggie Marika Spring Ann Stephenson-Wright

Visitor Services and Security Department Jon Campbell Head of Visitor Services & Security James Curtis

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Roy Daisley Caroline D’Souza Robert Flashman Mac McPolin

Information Elena Lagoudi Head of Information Melanie Barrese Dana Brenan Sara Byers Pauline Carr Keith Cavers Mark Farhall Camilla Harvey Jayne Herringshaw Tom Lovelace Andrew Markham Christopher Morton Matthew Power Leslie Primo Neil Reddy Joanne Rhymer Katy Tarbard Nicola Waghorn Susan Wise Matthew Wragg Aleksandra Zaczek-Gbiorczyk

Front of House Rishi Ahluwalia Sebastiano Benevelli Mandy Charles Joanne Davies Philippa Davison Denise Devlin Galen Dewey Miguel Escribano Antonio Figueroa Rachel Harrison Thomas Ingram Kalisha Karioki Robert Kelly Franco La Russa Franke Lane Hannah Merritt Noel Paine Abigail Peel Kirsti Prolingheuer Camille Rodskjaer Islamiya Scarr Amy Simpson Helen Simpson Jane Thomas Josh Thomson

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Reception Marina Bromfield Joy Onyejiako Jef Page

Security Johnson Adeoti Linda Aguiar-Arruda Ahmad Affeejee Eunice Akinola John Allan Bachu Amin Neil Anderson Joseph Andou Boguslawa Angielczyk Kate Arnold Cassim Assenjee Mohammed Assenjee Elizabeth Astley Guler Ates James Awanyo Simeon Banner Carole Barbero David Barham Jim Barrat Lucy Barratt John Bartlett Jessica Bean Jaisen Bhageerutty Gursharn Bhogal Mooneeraj Bhoyrub Renu Bhoyrub Steven Bleasby James Bollen Francisco Bos-Morilla Lawson Boyd Kenneth Bradford Carl Branker Helen Bromby Ian Brown Trevor Browse Nicholas Bryan Krayshun Bundhoo Joel Bunn James Busby David Byers Brian Callahan Keith Carr Tania Carvalho Jeneice Case Tangaval Cattaree Nadia Cavallin Alan Charlesworth Neil Charman

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Margaret Chenier Manolis Chrysanthou Devraj Chudasama Peter Coelho Robert Conkie James Connor Susan Constantinou Kitty-Anne Cooke Robert Cronin Michael Cuffe Charles Cullis James Curtis Kenneth Cushing Aziz Dahdouh Horacio Danino Conrad Davis Alan Dawson Alexander Day Come De Mascarel Oumaduth Deenoo Michael Deere Yousouf Delawarally Peter Denman Barry Denny Valentina Di Fonzo Alan Dickinson Michael Dolan Bado Dramane Roger Druce William Dundridge Clint D’Mello Robert Earle Alvin Edwards Colin Eeles David English Graham Eve Trevor Falkner Charlotte Fanthome Mike Farr Simon Fenn Fabiana Ferreira Pablo Ferretti Raymond Fleming Paolo Fornasari Raymond Frimley Marie Furnival Michael Galbraith Jose Garcia Ana Garcia Doreen Gardiner David Garland Bye Gauzee David Gethen-Smith Susana Gilardoni

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Tina Gilbert Sarah Gilder Raymond Golding Artur Goncalves Premduth Goonraj Judith Green Edward Gribben Justin Gumbrell Terence Halden Duncan Hales Ian Hall Colin Halstead Paul Hannam James Hardie Rebekah Hart Noel Harvey Jennifer Hawksley Andrew Hill Stephen Hills Alec Hirst Sigrid Holmwood Gary Hoose Azizul Hoque Bhaye Hosenally Sabeena Hosenally Zaheeda Hosenally Lynn Huggett Ronald Hulls Lisa-Raine Hunt Pasqualino Iannotta William Ibbotson Emel Ismail Angela Jack Rosemary Jackson Andrew James Premila James Reshade Jannoo Fazila Jhungoor Gareth Jones Nathan Jones Atmaram Kawal John Kennedy Mukhjinder Khaira Helen Kilroy Ray Kinsella Balram Lalsing Kamla Lalsing Martin Lander Michael Lane David Lawson Carole Leaden Gonzalo Lema Joshua Le Touzel Peter Levi

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Roger Li Nathalie Litchfield Giles Livsey Thomas Loffill Jakeline Londono John Lorenzo Kenneth Lumsdale Joseph Maciejczek Gawmatee Madhub-Salamat Neville Maguire John Maltby Maria Matitato Torreiro Russell Marks Pablo Martinez Janet Mason Jacqueline McEvitt James McLaren Janice Melis Ansar Miah Antonio Minana-Fons Jan Monsen-Elvik Sara Montalti Mamode Moosun Ryan Mosley Kerry Murphy Narshi Nandha Yvonne Nickels Agwunobi Nwabue Timothy Oakenfull Lawrene Ojelade Miguel Oliveria Jesus Ortega Zbisiu Orzechowski Roy Osborne James Oughtibridge Thomas O’Brien Joe O’Hare Kathleen Palmer Ray Palmer Anil Patel Ketan Patel Pravin Patel Ibrahim Pathan Bernadette Patterson Bernard Payot Roger Pearce Lloyd Pinder Kenneth Pink Margaret Rafique Padma Rambhujoo Vincent Ramlugon Ramzan Ratnani Nathalie Rebillon-Lopez David Reed

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Nathan Reed Marion Reeves Habib Rehman Eugene Richards Nicola Richards Robert Richards Brian Riseam Philip Robertson Steven Rowell Sheik Sakhabuth Ray Salvage Teresa Scanlon Maria Scozzari Carole Seed Antoine Sellier Roger Sergent Dewoolall Sewrutton Itaat Sheikh Jason Shephard Maureen Smart Marcos Soares Jayesh Solanki Abdool Soogun Norris Spence Izabela Stanek Harald Stiegler Paul Stroud Murray Symons Witold Szymanski Jennifer Tarrant John Teatum Thomas Telford Mark Tetley Elgar Thelen Dennis Thompson Paul Underwood Robert Walshe Anthony Ward John Wedlake Phyllis Whelan Michael White John Williams Jack Wood