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Meet Fiona Douglas-Home, a testament to the life-long relevance of a connection with the National Gallery. She chats with Denise King, our Photography and Imaging Manager, and explores some illuminating stories from her childhood and her time working at the Gallery.

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First memory of the National Gallery 

Fiona visited the Gallery when she was eight years old and remembers listening to Myra Hess, the celebrated pianist who put on concerts at the Gallery during the Second World War to raise morale. Later, when she was employed by the Gallery, she had the opportunity to meet Myra. Fiona conveyed Myra Hess's wish to Sir Philip Hendy, the director at the time, for her to perform in the Gallery once more. However, this request was not accepted due to security reasons. 

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A lunch-time concert brochure from 1940.

Visitors enjoying one of Myra Hess’s lunchtime concerts during the Second World War.

Myra Hess performing one of her lunchtime concerts at the Gallery during the Second World War.

Myra Hess performing one of her lunchtime concerts at the Gallery during the Second World War.

Myra Hess performing one of her lunchtime concerts at the Gallery during the Second World War.

The Myra Hess plaque in the Barry Rooms, commemorating her first concert in the Gallery on 10 October 1939.

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Working in the Gallery 

Fiona joined the Gallery as a Photographic Archivist when she was 19 years old in 1955, under Bunny Wilson’s team. She focused on building up the archive of images of the Gallery and the paintings, fully immersing herself in our collection. The Photographic department was all-female then until Eric Arnold joined in the 1960s.

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Photographic Studio 1949

The new Photographic Studio at the Gallery, taken on 25 May 1949.

Bunny Wilson

Bunny Wilson, Chief Photographer of the National Gallery, photographed in Wales in the environs of Manod quarry during the Second World War, 1941.

Portrait of Eric Arnold
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During her time in the Gallery, she had the opportunity to work with many different departments including Conservation. Colleagues included Helmut Ruhemann CBE and Herbert Lank as well as Directors Sir Philip Hendy and Sir Martin Davies. Fiona would also go on to marry National Gallery Curator, Gregory Martin who was the Assistant Keeper II at the time.

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Sir Martin Davies became Director in the late 60s during a period of major change at the Gallery.

The Martin Davies plaque was installed in 1977.

Director Sir Philip Hendy seated at his desk, 1967.

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Fiona’s memories of working at the Gallery include many notable events. These include the theft (and eventual retrieval) of the then newly acquired ‘The Duke of Wellington’ by Goya in 1961, seeing Renoir’s Pair of Dancing Girls on display in our then-director’s office before their acquisition and witnessing how the Photographic department changed over time, moving from black and white to colour photography during her time here.

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The Metropolitan Police notice offering a £5,000 reward for the return of Goya's portrait of 'The Duke of Wellington' which was stolen.

The press release issued by the National Gallery following the theft of the Goya painting.

Francisco de Goya, 'The Duke of Wellington', 1812-14.

The press release issue by the National Gallery announcing the acquisition of Renoir's 'Dancing Girl with Tambourine' and 'Dancing Girl with Castanets'.

Pierre-Auguste Renoir, Dancing Girls with Tambourine/Castanets, 1909

Pierre-Auguste Renoir, Dancing Girls with Tambourine/Castanets, 1909.

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Staying connected 

Today, Fiona is a devoted Member and a regular visitor who actively follows the Gallery’s digital channels and still enjoys finding out about paintings she’s less familiar with. Whenever she visits the Gallery, she heads to the Portico Terrace and recalls her memories of waiting to hear the bells of St Martin-in-the-Fields ring, just as she did while working here.

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Fiona Douglas-Home with Denise King, the Gallery's current Photography and Imaging Manager

The Portico entrance of the Wilkins Building with a banner promoting the exhibition and public appeal for funds to purchase Titian's 'Death of Actaeon' in June 1972. 

Looking down on the Portico Terrace, 2009.

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