At a meeting by teleconference of the National Portrait Gallery Foundation last week, I found myself reporting that our forthcoming exhibition So Fine is going to be “a humdinger,” whereupon Tim Fairfax chuckled and said that he hadn’t heard that expression for years.
In the earliest stages of the Great War, the Royal Pavilion in Brighton was turned into a military hospital, and arrangements made there to accommodate the different dietary and other requirements of Hindu, Sikh and Muslim patients.
Those of you who are active in social media circles may be aware that through the past week I have unleashed a blitz on Facebook and Instagram in connection with our new winter exhibition Dempsey’s People: A Folio of British Street Portraits, 1824−1844.
Books seldom make me angry but this one did. At first, I was powerfully struck by the uncanny parallels that existed between the Mellons of Pittsburgh and the Thyssens of the Ruhr through the same period, essentially the last quarter of the nineteenth century.
This is my last Trumbology before, in a little more than a week from now, I pass to my successor Karen Quinlan the precious baton of the Directorship of the National Portrait Gallery.