The Advisory Board of AiA is an informal board of distinguished academics and art market professionals who offer periodic advice and direction to the Foundation’s Board of Directors to assist in organisation of the Congress and the promotion of its various initiatives
Dr David Bomford – has been involved in the conservation and study of European painting for more than 40 years. As senior restorer at the National Gallery, London, he worked with some of the great masterworks of Western art, including Vincent van Gogh’s Sunflowers, Edouard Manet’s The Execution of Maximilian, Peter Paul Rubens’ Samson and Delilah, and numerous paintings by Rembrandt and the French Impressionists. At the National Gallery, he was co-author and organizer of the groundbreaking Art in the Making series of catalogues and exhibitions. Bomford has also been secretary-general of the International Institute for Conservation and Slade Professor of Fine Art at the University of Oxford. He served as associate director for collections at the J Paul Getty Museum from 2007 to 2010 and as acting director from 2010 to 2012, and was appointed to the Museum of Fine Arts, Houston in 2012 as the Chair of the Department of Conservation. In 2015, in addition to his Conservation title, he was appointed the Audrey Jones Beck Curator of European Art at the Museum of Fine Arts
Dr Friederike Gräfin von Brühl – is practicing as a lawyer at K&L Gates LLP, Berlin, with a special focus on IP/IT law and art law. She regularly advises international collectors, art dealers, museums and foundations in all legal aspects concerning the art market. Her recent experience includes the successful representation of several buyers in the Beltracchi scandal, the major German art forgery scandals since the 1940s. She was admitted to the bar in 2006 and is an accredited “Specialist Lawyer for Copyright and Media Law” (Fachanwältin für Urheber- und Medienrecht). Based on her academic background as lawyer and art historian, she published her doctoral thesis on the “Market Power of Art Experts from the Legal Perspective” in 2008. She regularly publishes in professional journals and is lecturer for art law and copyright law at Freie Universität Berlin
William Charron – is a partner in the Litigation Department at Pryor Cashman LLP in New York City, and is co-chair of the firm’s Art Law Practice Group. He specializes in intellectual property litigation, including in particular art law matters involving disputes as to authenticity and title. He represents a number of corporate art institutions (i.e., of the museum, auction house, and artist foundation varieties), as well as dealers, advisors, and collectors. Bill has represented clients in some of the most high profile and precedent-setting recent art law matters in New York, including the case of Bakalar v. Vavra, in which he prevailed in establishing a good faith purchaser’s ownership of an Egon Schiele drawing alleged to have been stolen during World War II. Bill also represents the plaintiff in Martin Hilti Family Trust v. Knoedler Gallery, et al., in which it is alleged that the plaintiff was deceived into purchasing a fake “Mark Rothko” painting. Bill sits on the New York City Bar Association’s Art Law Committee and is active in speaking and publishing about art law matters. He recently published an article in the New York Law Journal entitled, A Comity of Error: Analyzing New York’s Choice of Law Rules in Stolen Art Cases. His article in the same journal, Should Visual Artist’s Resale Royalty Right Be Considered a “Copy” Right?, analyzes the U.S. Congress’s current bill to codify droit de suite in the United States
Nanne Dekking – is the co-founder and CEO of Artory, New York / Berlin. Artory builds a platform that will become a prime digital point of entry for accurate, independent and comprehensive information about works of art.
In his former position at Sotheby’s New York he was Vice Chairman and the Worldwide Head of Private Sales.
Prior to joining Sotheby’s, Mr. Dekking was Vice President of Wildenstein & Co., one of the leading art dealers in the world. Mr. Dekking advised individuals, museums and foundations on the formation and development of their collections.
From 1996 – 2001 Mr. Dekking was the founder and principle of Nanne Dekking Fine Arts, an art consultancy firm and gallery in New York.
After his studies in Amsterdam he held numerous distinguished positions in The Netherlands, including Deputy Administrative Director of the Dutch National Ballet. He started his career as Assistant Curator of the Historical Collections of HM The Queen of The Netherlands
Prof em Dr Rudi Ekkart – studied art history at Leiden University and obtained his doctorate at the University of Amsterdam in 1997. From 1970 to 1973 he worked as assistant and from 1973 to 1978 as curator in the employment of the Academic History Museum in Leiden. From 1978 to 1987 he was employed as curator by the National Museum Meermanno-Westreenianum in The Hague. In 1987 he was appointed as deputy director and in 1990 as director of the Netherlands Institute for Art History (RKD). Since 2004, he has also worked as professor at the University of Utrecht. Besides his principal positions, he has held numerous board positions in the world of art history and museums. Since 1997 he has been, among other things, chairman of the successive monitoring committees involved in investigating artworks still under the jurisdiction of the Dutch government that had fallen into German hands by robbery and forced sale during World War II. Since 1970, he has published numerous books, catalogues and articles in the field of university history, book history and typography and especially the history of Dutch painting and drawing, with special attention for portraiture. Rudi Ekkart is former Director of the Netherlands Institute for Art History (RKD), The Hague. The RKD is an internationally operating institute in the field of Art History investigation. Located in The Hague, the RKD is listed worldwide as an authoritative institute for archive investigation of, inter alia, paintings. Many publications in the field of authentication have been made by the RKD
Prof em Dr Martin Kemp – FBA, Emeritus Professor in the History of Art at Trinity College, Oxford University. He was trained in Natural Sciences and Art History at Cambridge University and the Courtauld Institute, London. Books include The Science of Art – Optical Themes in Western Art from Brunelleschi to Seurat (Yale) – and The Human Animal in Western Art and Science (Chicago). He has published and broadcast extensively on Leonardo da Vinci, including the prize-winning Leonardo da Vinci – The marvellous works of nature and man (Oxford). His most recent book is Christ to Coke – How image becomes icon (Oxford) – which looks at 11 representatives of types of icons across a wide range of public imagery. He has written regularly for Nature, published as Visualisations and developed as Seen and Unseen (both Oxford) in which his concept of “structural intuitions” is explored. He has curated and co-curated a series of exhibitions on Leonardo and other themes, including Spectacular Bodies at the Hayward Gallery in London and Leonardo da Vinci – Experience, Experiment, Design – at the Victoria and Albert Museum in 2006 and Seduced – Sex and Art from Antiquity to Now – Barbican Art Gallery London, 2007
Prof Dr Enrique Mallen – earned his doctorate at Cornell University in 1989. Since 1997 he is Director and General Editor of the Online Picasso Project (OPP), a digital catalogue raisonné on Pablo Picasso used by Picasso scholars throughout the world. He is currently Professor at Sam Houston State University. He has also taught as Adjunct Professor at Heinrich-Heine Universität, Düsseldorf for the last three years; and is a co-investigator in the project “Catálogos Artísticos: Gnoseología, Epistemologías y Redes de Conocimiento. Análisis Crítico y Computacional” at the Universidad de Málaga, as well as collaborator in the project “Didáctica, Aprendizaje, Tecnología” at the Universidad de Sevilla. He has published numerous journal articles on threoretical linguistics, semiotics and art history. He has been an invited contributor to many edited volumes and encyclopedias; most recently, The Body, Illness, Injury, Treatment & Death in Hispanic Art & Literature, the Enciclopedia de lingüística hispánica and the International Encyclopedia of the First World War. He has written extensively on Picasso’s Cubist and Surrealist periods, as well as on Picasso’s writings. In 2009-2010, he edited the four volume set A Concordance of Pablo Picasso’s Spanish Writings and A Concordance of Pablo Picasso’s French Writings, for which he received the Adele Mellen Prize for Distinguished Contribution to Scholarship. His work has been referenced in many doctoral dissertations, books and articles. Other important publications by him include: La Muerte y la Máscara en Pablo Picasso; Poesía del Lenguaje: De T. S. Eliot a Eduardo Espina; La Sintaxis de la Carne: Pablo Picasso y Marie-Thérèse Walter; The Visual Grammar of Pablo Picasso; and Con/figuración Sintáctica: Poesía del Des/lenguaje. He has delivered lectures at many international conferences organized by recognized universities and museums such as The Dalí Museum in St. Petersburg or the Kunsthaus Zürich. He is a regular collaborator with the Museu Picasso, Barcelona; the Museo Picasso, Málaga, the Fundación Picasso Casa Natal, Málaga and the Casa Museo Picasso, A Coruña; and has served as consultant on Picasso exhibitions at prestigious museums, such as the Kunsthalle Bremen or, most recently,The Museum of Modern Art, New York
James Roundell – studied Art History at Cambridge University. He joined Christie’s Fine Art auctioneers in 1973. Initially he worked in the Drawings department before specializing in Old Master & Modern Prints. He organized the celebrated auction of Old Master Prints from Chatsworth in 1985. In 1986 he became Head of the Impressionist & Modern Picture deptartment in London, masterminding the van Gogh Sunflowers sale in 1987. In 1995 he left to join the leading art dealing firm of Simon Dickinson Ltd where he heads the Modern Department. James is currently Chairman of The Society of London Art Dealers (SLAD). He is also Vice Chairman Pictura at the Tefaf Maastricht Fair and head of the Modern Art Vetting Committee at Maastricht
Prof Dr Maurizio Seracini – was the founder and director from 2007 to 2013 of the Center for Interdisciplinary Science for Art, Architecture, and Archaeology (CISA3) at the University of California San Diego’s California Institute for Telecommunications and Information Technology (Calit2). He is a pioneer in the use of multispectral imaging and other diagnostic tools as well as analytical technologies as applied to works of art and structures. He has studied more than 3,500 works of art.
Seracini joined Calit2 in 2006, more than thirty years after graduating from UCSD with a B.A. in bioengineering in 1973. Seracini returned to Italy for graduate school and received a PhD degree in electronic engineering from the University of Padua. He has been the scientific director for the Leonardo Project to search for the long-lost fresco, “The Battle of Anghiari” (a project sponsored by the Armand Hammer Foundation, the Kress Foundation, the Smithsonian Institution and the Kalpa Group). In 1977, Seracini established Editech, a Florence-based company that was the first in Italy to provide authentication and diagnostics for works of art.
In 2013 he founded Editech Art & Science and cofounded Great Master Art Authentication to offer art authentication services in Europe and in the USA
Lawrence M. Shindell – Chairman of ARIS Title Insurance Corporation, the wholly-owned subsidiary of Argo Group (NASDAQ: AGII), an international insurance company. Headquartered in New York, New York, United States, ARIS addresses the increasingly complex and evolving legal ownership issues facing the art industry on a global basis including the museum and broader non-profit community. Mr. Shindell is a lawyer by background and formerly represented or litigated against large corporations in complex commercial and insurance trial and appellate litigation including litigation in international forums, in many instances in significant profile cases resulting in reported United States state or federal trial or appellate court decisions. Mr. Shindell holds the highest (AV) professional rating from Martindale-Hubbell, an international, peer-to-peer organization for attorneys, and is actively licensed before several United States trial and appellate bars including the Bar of the United States Supreme Court. Mr. Shindell has provided expert testimony of first-impression in matters before the United States Tax Court on art related tax related questions. Through ARIS, Mr. Shindell consults to and speaks internationally to numerous commercial, non-profit and professional advisor groups on the shifting paradigms of the global art industry, including the interface of legal title and authenticity, and the impact that this shift in paradigm has on market transactions
Dr Chris Stolwijk – Director of the Netherlands Institute for Art History (RKD), The Hague, an internationally acclaimed institute, that collects, conserves, manages and gives access to art historical information, but also stimulates research and publications and (co-)organizes exhibitions. The RKD is currently in the process of forming an institute of excellence in art historical research in cooperation with the Rijksmuseum in Amsterdam. Chris Stolwijk studied Political science and Art history and received his PhD in 1997 at Utrecht University. Since late 1996 he has been working at the Van Gogh Museum, where his last function was Head of Art (Collections, Research and Presentation). In that capacity he has co-organised several exhibitions including Van Gogh and the colors of the night at MoMa & Van Gogh Museum and published works on nineteenth-century art and the art market including Theo van Gogh: art dealer, collector and brother of Vincent and A decade of collecting. Chris Stolwijk is a member of CODART since 2008