Find brief CVs of those taking an active role at TIAMSA, as well as our Founding and Board members here. Founding members are marked with an asterisk*.
Susanna Avery-Quash (Events Officer) studied at Cambridge University and the Courtauld Institute, London. She has been working at the National Gallery since 1998, most recently as Senior Research Curator (History of Collecting). She co-supervises PhD-students on topics relevant to the history of the Gallery, and with the University of Buckingham has established a MA in the history of collecting and the art market. Between 2010 and 2016 she coordinated the Gallery’s partnership with the Getty Research Institute which researched British art sales between 1680 and 1800. Her research includes the provenance and history of display of Old Master paintings, and the crucial, if often overlooked, role dealers have played in the movement of paintings between collections. Recently she has focussed on the collections of John Julius Angerstein and on the directorship at the National Gallery of Sir Charles Eastlake. Besides TIAMSA, she also is a board member of The Society for the History of Collecting.
Lynn Catterson* (Student Officer), originally trained in the sciences, received her Ph.D. in Art History at Columbia University in 2002. Her research in Italian Renaissance sculpture focuses on the marketplace and how 15th century sculptors satisfied consumer demand for antiquities. Her current work is on art market production and social networks of 19th century Florence via its preeminent dealer, Stefano Bardini. This project is supported by the Frick Center for the History of Collecting, the American Philosophical Society, the International Scholarship Programme at the SMB-PK in Berlin, and CASVA in Washington, DC. The Bardini project is to create a digital research platform to unite the materials while its structure mirrors the network of the late 19th century art market. In the interim, an edited volume on the supply side of the art market is forthcoming from Brill; two articles and a book on various aspects of the phenomenon of Bardini are soon to be published.
Julie Codell (Blog Editor) is Professor of Art History at Arizona State University and affiliate faculty in English, Gender Studies, Film and Media Studies and Asian Studies. Her publications and courses cover topics in 19th-century European culture, the art press, fashion and art, science and art, cultural economics, the British empire, life writings, film, portraits, theory, and the art market. She wrote The Victorian Artist (2003; 2012 rev. ed.) and edited Transculturation in British Art (2012); Power and Resistance: The Delhi Coronation Durbars (2012); The Political Economy of Art 2008); Imperial Co-Histories (2003); and co-edited with L. Hughes, Replication in the Long 19th Century: Re-making and Reproduction (2018); with J. DelPlato, Orientalism, Eroticism and Modern Visuality in Global Cultures (2016); with L. Brake, Encounters in the Victorian Press (2004), and with D. Macleod, Orientalism Transposed (1998). She received fellowships from the National Endowment for the Humanities, Getty Foundation, Kress Foundation, Huntington Library, Harry Ransom Center, and the Yale Center for British Art. She has been president of 5 Victorian studies societies and a board member of 8 professional organizations and 6 scholarly journals.
Alan Crookham* is a professional archivist and head of the National Gallery Research Centre. Prior to joining the National Gallery in 2005, between 1994 and 1999 he was Assistant Archivist at the University of Warwick and from 1999 to 2005 he was Curator of Gallery Records at Tate. He is currently supervising two Collaborative Doctoral Partnership students working on aspects of the relationship between the National Gallery and Thos. Agnew & Sons in the late 19th and early 20th centuries. His research interests include the history of the National Gallery and the relationship between archives and the arts. He is the author of The National Gallery. An Illustrated History (London 2009) and ‘The Turner Bequest at the National Gallery’ in Turner Inspired. In the Light of Claude (London 2012), as well as numerous journal articles, most recently ‘Curatorial constructs: archives in fine art exhibitions’ in Archives and Records (Spring 2015).
Christel Hollevoet-Force* is Associate Research Curator in the department of Modern and Contemporary Art at the Metropolitan Museum of Art in New York. Previously she held curatorial positions at The Museum of Modern Art (1990-99), the Whitney Museum of American Art’s Independent Study Program (1992), the Solomon R. Guggenheim Museum (2000), and spearheaded MoMA’s Provenance Research Project (2001-5). At the Met since 2005 she contributed to catalogues dedicated to Ambroise Vollard (2006), Muriel Newman (2007), Pierre Matisse (2009), Pablo Picasso (2010), Alfred Stieglitz (2011), and Henri Matisse (2013). Her most recent conference papers covered subjects such as the early Picasso art market, provenance research in American museums, and the legal and aesthetic significance of artist signatures. She co-organized two symposia on art market topics held in 2017. She is a member of the Advisory Board of Bloomsbury Academic’s “Contextualizing Art Markets” series, and a member of the Steering Committee of the German/American Provenance Research Exchange Program for Museum Professionals.
Frances Fowle* (Finance Officer) holds a joint post as Professor and International Director, Edinburgh College of Art, University of Edinburgh and Senior Curator of French Art at the Scottish National Gallery. She holds a Personal Chair in nineteenth-century art at the University of Edinburgh. She is also Senior Trustee of the Burrell Collection in Glasgow. She is a specialist in 19th century French and British art, collecting and the art market and has published widely on this subject. Her publications include Impressionism and Scotland (2008) and Van Gogh’s Twin: the Scottish Art Dealer Alexander Reid: 1854-1928 (2010). She has curated and contributed to a large number of international exhibitions, including Van Gogh to Kandinsky: Symbolist Landscape in Europe 1880-1910 (Amsterdam, Edinburgh, Helsinki 2012), American Impressionism: A New Vision (Giverny, Edinburgh, Madrid 2014-15), The Glasgow Boys (Assen 2015-16), Celts: Art and Identity (London and Edinburgh 2015-16) and Inspiring Impressionism: Daubigny, Monet, Van Gogh (Cincinnati, Edinburgh, Amsterdam 2016).
Antoinette Friedenthal* studied art history at the universities of Heidelberg and Berlin (FU and TU) and at the Courtauld Institute of Art. She received her doctorate from the Free University Berlin with a dissertation on self-portraiture and the image of the artist in the Italian Renaissance. She was research assistant at the Bibliotheca Hertziana in Rome and research scholar at the Max-Planck-Institute for the History of Science in Berlin. She has taught at the Free University in Berlin and has received grants from the German Academic Exchange Service (DAAD), the Gerda Henkel Stiftung, the Samuel H. Kress Foundation and the Centre allemand d’histoire de l’art in Paris. Her forthcoming book on the evolution of the catalogue raisonné explores the relationship between commerce, collecting and research between the 16th and the 20th centuries, a subject on which she has already published numerous articles.
Jeremy Howard* is Head of Research and Academic Projects at P and D Colnaghi and Head of Art History at the University of Buckingham. He is also programme director of the new MA in the Art Market and History of Collecting, run by the University of Buckingham in collaboration with the National Gallery. Having spent roughly half his professional career as an art dealer and half as an academic, he has a special interest in the history of the London art market. His publications include Colnaghi: The History (1760 – 2010) (London 2010), “Titian’s Rape of Europa: its reception in Britain and Sale to America” in Peter Humfrey (ed.), The Reception of Titian in Britain from Reynolds to Ruskin (Turnhout 2013) and “Art, Commerce and Scholarship: The Relationship between Otto Gutekunst of Colnaghi and Bernard Berenson” in Joseph Connors and Louis Waldman (eds.), Bernard Berenson-Foundation and Heritage (Cambridge, MA 2014).
Christian Huemer* (Fundraising Officer) is Director of the Research Center at the Österreichische Galerie Belvedere in Vienna. 2008-2017 he was Head of the Project for the Study of Collecting and Provenance at the Getty Research Institute where he oversaw international research projects, such as “London and the Emergence of a European Art Market, c. 1780-1820” and “The Business of Art in the ‘Third Reich’.” In this position he was also responsible for the development of the Getty Provenance Index® databases. Huemer studied art history at the University of Vienna, the Paris Sorbonne, and the City University of New York, where he submitted a dissertation on “Paris-Vienna: Modern Art Markets and the Transmission of Culture, 1873-1937.” Huemer taught art history classes at Hunter College in New York, the American University in Paris, and the Sotheby’s Institute of Art in Los Angeles. He is Editor-in-Chief of the book series “Studies in the History of Collecting & Art Markets” (Brill) and Section Editor of the “Art Market Dictionary” (DeGruyter).
Veronika Korbei* (Chair, tbc) is the Section editor for Great Britain and Ireland (ca. 1850-1945) of the Art Market Dictionary (De Gruyter Publishers, Berlin) and former archivist of the E.H. Gombrich Archive (2008-2010) as well as assistant archivist of the Warburg Institute Archive (2010-2011) at the Warburg Institute in London. Trained as art historian in Vienna and Hamburg, her PhD research focused on Peter Paul Rubens and the inscriptions on his drawings. In both cities she worked for Sotheby’s. As a free lancer she has done research and editorial work for Yale University Press and currently does so for Brepols Publishers. Her publications include Vorbild Rubens (Munich 2004, with Johann Kräftner), “Politikerin” in Handbuch der politischen Ikonographie (Uwe Fleckner, Martin Warnke, Hendrik Ziegler eds., Hamburg 2011); Die Beischriften des Rubens (PhD; Hamburg 2012) or “Gombrich’s Working Method” in Meditations on a Heritage. Papers on the Work and Legacy of E.H. Gombrich (Paul Taylor ed., London 2012). Another small book on Ernst Gombrich and Aby Warburg is forthcoming.
Johannes Nathan* (Chair) studied Art History at NYU (BA) and the Courtauld Institute of Art (MA, PhD). He taught art history at the University of Berne until 2001 when he became director of his family’s Galerie Nathan in Zurich, now Nathan Fine Art in Zurich and Potsdam. He has taught – particularly Renaissance art history and the history of the art market – at the universities of Berlin (TU), Cologne, Leipzig, Lisbon, New York (NYU) and Zurich. In 2012 he co-founded the Center for Art Market Studies at TU Berlin. With De Gruyter Publishers, Berlin, he initiated the Art Market Dictionary for which he serves as Editor-in-Chief. Among his books are Leonardo da Vinci, The Graphic Work (Cologne 2014, with Frank Zöllner) and The Enduring Instant. Time and the Spectator in the Visual Arts (Berlin 2003, co-edited with Antoinette Friedenthal).
Kim Oosterlinck (Liaison Officer, Economics) is Professor of Finance at the Solvay Brussels School of Economics and Management (Université libre de Bruxelles) and Research Fellow at the Centre for Economic Policy Research (CEPR). He holds a Master in Management, a MA in Art History and Archaeology, and a PhD in Economics and Management from the Université libre de Bruxelles (ULB). After a post-doctoral stay at Rutgers University, the state University of New Jersey, he returned to ULB as professor. Kim Oosterlinck has published in several leading academic journals such as the American Economic Review (Papers and Proceedings), the Economic journal, the Journal of Economic History, the Journal of Monetary Economics, or the Review of Finance. He is the author of a book on the repudiation of Russian sovereign bonds (Yale University Press, 2016). His work on the art markets addresses issues such as the impact of wars, of monetary reforms and of fake discoveries on the art trade, and he has also analyzed the business strategies of art dealers. Kim Oosterlinck is currently working on a book dedicated to the analysis of the principal art markets during World War II.
Barbara Pezzini* is a London-based art historian with a wide record of publications on the art market, which include reconstructions of fin-de-siècle exhibitions on British art, Futurists shows in London, the relationship between dealers and scholars in the early 20th century and their interactions with the art press. Barbara is particularly interested in the study of prices of works of art as markers of symbolic values and she combines an archival, quantitative approach to the art market with a broader theoretical interest rooted in economic sociology. Barbara currently holds three posts in conjunction. As Index Editor of The Burlington Magazine she leads a digital project of historical dealers advertisements in this journal, from 1903 to the present. She is also the recipient of an AHRC Collaborative Doctoral Award between The National Gallery and the University of Manchester to study the relationship between the museum and London art dealers Agnew’s (1850-1950). Finally, Barbara is Editor-in-chief for the journal Visual Resources, published by Routledge/Taylor & Francis.
Inge Reist*, Director of the Center for the History of Collecting at the Frick Collection and Frick Art Reference Library, began her Frick career in 1980 with a three-year curatorial fellowship. After completing her PhD at Columbia University (1984), she returned to the Frick heading its Photoarchive and later as Chief of the Library’s research collections and programs, establishing the Center for the History of Collecting in 2007. Her publications reflect her dual interests in Italian Renaissance and Baroque art and the history of Collecting. They include the Ringling Museum’s Paolo Veronese 2012 exhibition catalogue; the Blackwell Companion to Renaissance and Baroque Art; “The Fate of the Palais-Royal Collection, 1791-1800,” in The Circulation of Works of Art in the Revolutionary Era 1789-1848, (2006), and “Sacred Art in the Profane New World of Nineteenth-century America,” in Sacred Possessions: Collecting Italian Religious Art, 1500 to 1900 (2011). She is the co-editor of Provenance: An Alternative Art History (2012). Between 2011 and 2015 she edited four books published by the Center for the History of Collecting. From 2005-2011 she was Chairman of the Association of Research Institutes in Art History and currently serves on editorial and advisory boards, including the Journal of the History of Collections and Studies in the History of Collecting & Art Markets.
Iain Robertson (Journal Officer) is Head of Art Business Studies at Sotheby’s Institute of Art (SIA). He was Exhibitions Officer, Royal Institute of British Architects; Cultural Attaché , British Mission to Taiwan, Director of the Yu Yu Yang Foundation and Senior Lecturer in Arts Policy & Management at City University, London. He was a awarded a PhD in 2000 from City University for his thesis; ‘The emerging art markets of Greater China 1989-1999’. His books include: Understanding International Art Markets and Management (2005); The Art Business (2008); ‘A New Art from Emerging Markets’ (2011); Understanding Art Markets, Inside the World of Art and Business (2016); Art Business Today: 20 Key Topics (2016). Two forthcoming texts: ‘New art New Markets’ and ‘Our Culture’ will appear in 2017 and 2018 respectively. He was art market editor of Art Market Report and is co-series editor of Handbooks in Art Business (SIA and Lund Humphries). He consults for banks in Asia and Europe and is visiting professor to Tsinghua and Lisbon Universities.
Catherine B. Scallen*, the Andrew W. Mellon Associate Professor in the Humanities at Case Western Reserve University in Cleveland OH, has published on thematic topics in Rembrandt’s prints, Flemish drawings, and twentieth century photography. Her book, Rembrandt, Reputation, and the Practice of Connoisseurship (Amsterdam UP 2004), traces the development of modern Rembrandt painting connoisseurship and its institutional basis in the nineteenth and twentieth centuries. Her current research focuses on the historiography of recent Rembrandt exhibitions, studies of the Old Master art market in the early twentieth century, and the “gendered” print study room in the US in the mid-twentieth century.
Olav Velthuis (President) is Associate Professor at the Department of Sociology of the University of Amsterdam, specializing in economic sociology, sociology of the arts and cultural sociology. At the department he is co-director of the program group Cultural Sociology. He has recently studied the emergence and development of art markets in the BRIC-countries (Brazil, Russia, India and China) in a cross-comparative manner. Velthuis is the author of many academic articles and several books, among them ‘Talking Prices. Symbolic Meanings of Prices on the Market for Contemporary Art’ (Princeton University Press, 2005). With Stefano Baia Curioni he recently edited the book ‘Cosmopolitan Canvases. The Globalization of Markets for Contemporary Art’ (Oxford University Press, 2015). His journalistic writings on art markets have appeared in (among others) Artforum, the Art Newspaper and the Financial Times.
Filip Vermeylen (Sub-Committees Officer) received his PhD. from Columbia University in 2002 and is Professor of Global Art Markets at the Erasmus University Rotterdam in The Netherlands. He lectures and publishes on various aspects of the economics of art and culture and is currently the chair of the Department of Arts and Culture Studies. He is especially interested in the history and functioning of art markets since the Renaissance, the notion of quality in the visual arts, the role of intermediaries as arbiters of taste and emerging art markets such as India. Between 2009 and 2014 he was the program director of a large-scale research project entitled Artistic exchanges and cultural transmission in the Low Countries, 1572-1672 which sought to gain insight into the circulation of artistic knowledge and examined how culture was and is transferred. His book Painting for the market. Commercialization of art in Antwerp’s Golden Age won the Robert Bainton Prize for Art History in 2006. Together with Christian Huemer (Getty Research Institute) he is currently writing a book on the history of the art market which will be published by Getty Publications in 2018 (for more information visit filipvermeylen.com).
Jonathan Woolfson* (Strategy Officer) is Deputy Director of Sotheby’s Institute of Art – London. His PhD is from the Warburg Institute where he specialised in the cultural history of England, Italy and Europe in the 16th century. He has taught at a variety of institutions including the University of Kent, the Victoria and Albert Museum, New York University in Florence and the University of Oxford, where he was Stipendiary Lecturer in History at Hertford College. A former British Academy Postdoctoral Fellow and now a Fellow of the Royal Historical Society, his publications include Padua and the Tudors: English Students in Italy, 1485-1603 (1998), Reassessing Tudor Humanism (2002), and Palgrave Advances in Renaissance Historiography (2004). Forthcoming is ‘The Arts of Italy and Early Tudor Visual Experience’ in The Ashgate Research Companion to Anglo-Italian Renaissance Literature and Culture (2016). He was co-organiser of ‘The Art Market Past and Present Conference’ held at Sotheby’s Institute of Art in 2014 in association with the Burlington Magazine.