1. 1 Content, Digitisation and IPR : an institutional perspective. Matthew Bailey National Portrait Gallery

2. 2 A brief history of the Gallery Nature of the collections Reasons for digitisation The role of the Picture Library I PR Management The impact of digital developments The question of consent Which way now? What this talk will cover Emmeline Pankhurst, printed by Central Press, 1908 (NPG x131784)

3. 3 …a gallery of original portraits, such portraits to consist as far as possible of those persons who are most honourably commemorated in British history… Philip Stanhope, 5 th Earl Stanhope (1856) History of the NPG Philip Stanhope, 5 th Earl Stanhope by G H Watkins, 1850s (NPG P301(7))

4. 4 To promote through the medium of portraits the appreciation and understanding of the men and women who have made and are making British history and culture, and…to promote the appreciation and understanding of portraiture in all media… People - History - Art Aims & Objectives

5. 5 Six strategic objectives 2004-2009 To extend and broaden audiences To develop the Collection To increase the understanding and engagement with the Collection To increase the financial resources To develop staff Bring the buildings and technical infrastructure to highest standards

6. 6 The Nature of the Collections More than 330,000 works Primary collection – for purposes of display Reference collections – to support research Portraits in various formats – paintings, photographs, sculpture, engravings, digital media Very little Born digital – but this is changing

7. 7 Duncan Alexander Goodhew by Marty St James and Anne Wilson, 1990 (NPG 6815). Multi-monitor video portrait

8. 8 Zaha Mohammad Hadid by Michael Craig-Martin, 2008 (NPG 6840). Wall mounted LCD screen with integrated software

9. 9 Reasons for Digitisation Accessibility Preservation User experience re-use of material

10. 10 The Complete Illustrated Catalogue NPG 2004 – catalyst for digitization at the NPG

11. 11 Digitising the Collections Initial scanning from existing transparencies and prints (not from original material) Images scanned in RGB to 1200 dpi at 2 inches wide 10,000 images scanned in first 18 months

12. 12 The first images to appear online were small, lo-res images

13. 13 Website image from 1996 versus website image from 2009 - King Richard III by an unknown artist, late 16 th century (NPG 148)

14. 14 The Digital Collection and the Digital Programmes Dept. Consolidation of digital resources Hi-res images made available to all staff Input into future planning and projects

15. 15 The Role of the Picture Library Raise revenue for the Gallery Maintenance of image stock Print sales Image licensing Copyright advice and training IPR Management

16. 16 The Importance of IPR Management Stem the tide Establish authority Enable, serve and support Direct relationships Mission and risk Network the expertise ©

17. 17 The Impact of Digital Developments on our Business Fast access to images, and ease of supply Proliferation of different software The Digital Picture Library Increased access/less protection? Who is in control?

18. 18 Gallery images appropriated without permission, for use on Wikipedia

19. 19 The Question of Consent Consent is an essential aspect of any respectful relationship It is at the heart of successful IPR management It cannot be assumed The Secret of Englands Greatness by Thomas Jones Barker, c. 1863 (NPG 4969)

20. 20 Not always possible to trace rights-holders This doesnt stop people wanting to use images Risk assessment and management Orphan works

21. 21 Which way now? The Gallery now Drive the changes Joined-up thinking Use new technology John Seely, 1 st Baron Mottistone; Arthur Mottistone, 3 rd Baron Mottistone by Anthony Wysard, 1935 (NPG 6125)

22. 22 Matthew Bailey mbailey@npg.org.uk mbailey@npg.org.uk 020 7312 2475