Your TIAMSA Board

TIAMSA is proudly served by thirteen board members! Let us introduce them to you (in alphabetical order):


Susanna Avery-Quash

Susanna Avery-Quash (Events Officer): ‘My interest in the art-market started as a teenager when my father was Director of Sculpture at Christie’s, London: as an intern, I enjoyed both the buzz of auctions and the research life behind-the-scenes. My current involvement with projects concerned with the historic art-market has made me aware of the virtues of employing a mixed methodology: traditional art-historical methods, including case-studies based on archival evidence, alongside methodologies involving the analysis of large datasets. It is good that people working in the art market, museums and universities are now willing to collaborate and share expertise; I am delighted to be part of TIAMSA which promotes such fruitful links.’

Lynn Catterson

Lynn Catterson

Lynn Catterson (Student Officer): ‘Beginning with an interest in Italian Renaissance sculpture, my earliest research focused on the marketplace and how fifteenth century Florentine sculptors satisfied consumer demand for antiquities.  In the last few years I have shifted my attention to the nineteenth century art market from the point of view of production and social network via the Florentine dealer, Stefano Bardini.  I am excited for TIAMSA to be a platform with the potential to bring together interdisciplinary and infradisciplinary dialog and research.’

Sharon Dowley (Coordinator): ‘My interest in the art market was stirred as a child by, of all things, an art auction board game. It triggered a lifelong love of art history and a fascination with collecting. I completed a Degree in Art History, and during Postgraduate studies in art crime, became intrigued with antiquities trafficking, the movement of cultural objects and the intersections between the illicit and licit markets. Now working towards a PHD, I am using object biography to trace the journey of ancient Khmer artefacts from creation to private collection and in recent years, return to Southeast Asia.’

Frances Fowle

Frances Fowle

Frances Fowle (Finance Officer): ‘I was brought up surrounded by the remnants of my great-grandfather’s wonderful collection of pictures, and there is no doubt that my fascination with the art market was stimulated, at least in part, by that experience. I joined Sotheby’s in 1981 and in 1983 witnessed the opening of Glasgow’s Burrell Collection – inspiring me to write my monograph on the art dealer Alexander Reid.  Today a profound understanding of the art market underpins my research at the University of Edinburgh and is also essential for my work as a curator at the Scottish National Gallery.’


Christian Huemer

Christian Huemer

Christian Huemer (Fundraising Officer): ‘I stumbled upon art market studies in the mid-1990s when it was still a ‘terrain interdit’ in most art history programs. A colleague at the Vienna Belvedere museum suggested I could research the mysterious art dealer Charles Sedelmeyer during my Erasmus year in Paris. Piecing together the dealer’s biography from widely dispersed source material was a fascinating enterprise, and it made me wonder how we should understand a work of art without reflecting on its social and economic context. In my responsibility for the Getty Provenance Index I touched on another frontier for art history which is slowly crumbling now: the computational analysis and visualization of large data sets.  It is thrilling to see how fast this rich field of interdisciplinary inquiry has developed over the last couple of years.’


Veronika Korbei (Chair): ‘As a young scholar my interest in the art market started with a relatively brief period at Sotheby’s Vienna during which I began to think about art as commodity. The research for my PhD on the drawings by Rubens took me deep into the world of the collectors of his works and how connoisseurship shaped the tastes as much as supply and demand for art. In terms of the dynamics of the art market little has changed since the 17th century and this fascinates me every day.’



Johannes Nathan

Johannes Nathan (Chair):  ‘Stemming from a family of art dealers, I was easily drawn to art history – but surprised to see as a student and when teaching that only few art historians were inclined to think about the market. When later taking up dealing myself, I naturally began to ponder the trade’s effects on cultural history. As I continue to venture into this great territory, I feel that its many facets can only be understood by combining the perspectives of several disciplines. Fascinating in itself, this journey is particularly rewarding through the many encounters with great colleagues and friends who share this interest.’



Kim Oosterlinck

Kim Oosterlinck (Liaison Officer, Economics): ‘I was raised in an environment where art was never far away: my mother painted and loved to take me and my sister to museums. So when I was in my third year of studies in management, I decided to study also art history. My major was in prehistory and – with the market for flint being what it is – the art market was not my major preoccupation then. However, when I started my research for my PhD in economics and management on war finance I discovered to my astonishment that French brokers in occupied Paris were complaining about the success of the art market. Now the art world had caught up with me as this discovery triggered my curiosity and my work on art markets, first during wars, and now in a broader setting!’



Iain Robertson

Iain Robertson (Journal Officer): ‘My research interests lie in the integration of tradition into contemporary culture. This approach bears most fruit in the analysis of ancient civilisations. These phenomena are the ones that have best resisted the onset of Modernism. The resilience in fact of cultures and even societies that might not be considered civilisations, to the application of internationalism and latterly globalisation, is remarkable. The approach that I take is largely historic and economic although politics today is a singularly important element. Emerging and Frontier art markets are located, broadly, on top of these great civilisations. It is the proximity of their ancient pasts to contemporary life that draws me to: Persia, Hindustan, China, South America, South East Asian and now parts of Africa; regions that have always been peripheral to Modernism. it is upon the archaic inclinations and syncretic impulses of these societies and polities that I focus my investigations.’

Inna Schill (Coordinator)

Olav Velthuis

Olav Velthuis

Olav Velthuis (President): ‘When I studied art history and economics at the University of Amsterdam, I was interested in sociological aspects of art and economy respectively. Writing a dissertation about pricing contemporary art was a way for me to unite those interests. While my work has ever since been firmly grounded in sociology, I have always tried to relate to art historical, economic, or other social scientific perspectives on art markets. My goal as a board member is to further stimulate dialogues between art market scholars within these disciplines; I am convinced they have a lot to learn from each other.’



Filip Vermeylen

Filip Vermeylen (TIAMSA Groups Officer): ‘Growing up in Antwerp, with its bustling port and rich cultural past, triggered my interest in the interplay between commerce and the arts. I wondered why some cities develop into hubs of artistic innovation and centers of the art trade. As a cultural economist, I soon realized that only a multi-facetted approach can truly help us understand the establishment and functioning of art markets, whether in the past or in emerging economies today. As such, the international mix of (art) historians, sociologists, economists and art professionals is precisely the reason why I am very excited about TIAMSA. As a board member, I will strive to further the dialogue across disciplines in this fascinating field of study.’


Jonathan Woolfson

Jonathan Woolfson (Strategy Officer): ‘Studying history at the Warburg Institute, in proximity to art historians, I sometimes wondered how a discipline whose sources are both beautiful and worth money could be objective about their status in the past. As a result of the journey that has taken me half a mile down the road to Sotheby’s Institute of Art, via Oxford, Chichester and Florence, I now see the complex relationship between cultural and financial value as vitally interesting and challenging. It implies no negation of art’s role as a transmitter of higher values to try to understand how it is and has been bought and sold. I hope I can help TIAMSA become a key means to aid that understanding.’

The first TIAMSA Board, comprising seven members, was elected at our first Annual General Meeting (AGM) on 15 July 2016: Susanna Avery-Quash, Lynn Catterson, Frances Fowle, Christian Huemer, Veronika Korbei, Johannes Nathan and Jonathan Woolfson. Four additional officers were elected to the board at our AGM on 13 July 2017: Kim Oosterlinck, Iain Robertson, Olav Velthuis and Filip Vermeylen. At our AGM on 29 September 2018, Veronika Korbei was elected as Co-Chair while Nirmalie Mulloli was elected as TIAMSA Coordinator. In August 2020, Nirmalie Mulloli left while Sharon Dowley and Inna Schill became the new TIAMSA Coordinators.