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Content, Digitisation and IPR : an institutional perspective.

Matthew BaileyNational Portrait Gallery

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• 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)

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“…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, 5th Earl Stanhope (1856)

History of the NPG

Philip Stanhope, 5th Earl Stanhope by G H Watkins, 1850s (NPG P301(7))

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“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

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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

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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

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Duncan Alexander Goodhew by Marty St James and Anne Wilson, 1990 (NPG 6815).

Multi-monitor video portrait

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Zaha Mohammad Hadid by Michael Craig-Martin, 2008 (NPG 6840). Wall mounted

LCD screen with integrated software

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Reasons for Digitisation

• Accessibility

• Preservation

• User experience

• re-use of material

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The Complete Illustrated CatalogueNPG 2004 – catalyst for digitization at the NPG

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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

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

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

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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

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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

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The Importance of IPR Management

• Stem the tide

• Establish authority

• Enable, serve and support

• Direct relationships

• Mission and risk

• Network the expertise

©

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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?

18Gallery images appropriated without permission, for use on Wikipedia

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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 England’s Greatness’ by Thomas Jones Barker, c. 1863 (NPG 4969)

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• Not always possible to trace rights-holders

• This doesn’t stop people wanting to use images

• Risk assessment and management

Orphan works

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Which way now?

• The Gallery now

• Drive the changes

• Joined-up thinking

• Use new technology

John Seely, 1st Baron Mottistone; Arthur Mottistone, 3rd Baron Mottistone by Anthony Wysard, 1935 (NPG 6125)

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Matthew Baileymbailey@npg.org.uk

020 7312 2475