Matthew Girling – is Bonhams Global CEO. Matthew first joined the company as a jewellery specialist in 1988 becoming Head of Jewellery in 1996 and subsequently Group Jewellery Director with overall responsibility for jewellery sales at Bonhams worldwide.
In October 2007 Matthew was appointed Bonhams Chief Executive Officer UK & Europe with a brief to raise the company’s profile and business performance across those regions. He became Global CEO in August 2015.
Career highlights include valuing and handling the sale of ‘The Jewels from the Personal Collection of Princess Salimah Aga Khan’ which sold for $28m in 1995.
Matthew is one of Bonhams principal auctioneers. He was made a Fellow of the Royal Institute of Chartered Surveyors in 2008 and is a Fellow of the Gemmological Association of Great Britain
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
Dr Dietrich Seybold – is an independent scholar based in Basel, Switzerland (Ph.D. at University of Basel in 2004) who has conducted research on the history of Leonardo da Vinci-scholarship and on the history of connoisseurship. After providing the first book on Leonardo da Vinci and the Oriental world (Leonardo da Vinci im Orient. Geschichte eines europäischen Mythos, 2011) he is about to publish a biography (forthcoming in 2013) of the Leonardo scholar and connoisseur Jean Paul Richter (1847-1937), a figure between the two Olympians of connoisseurship, Giovanni Morelli and Bernard Berenson. Generally interested in the history of connoisseurship and the combination of historical and theoretical thinking it requires (next to an analysis of art historical mythologies) he is currently preparing a book on Morelli and works towards an actual history of connoisseurship. Other interests are the history of collecting and the question how to write histories of collections (commissioned by the Bibliotheca Hertziana, Rome, he has recently provided a brief history of the collection of Henriette Hertz). Last but not least he is especially interested in contemporary painting
Prof Dr Chiara Matteucci – is the technical manager of the Unità Polilaboratoriale of the Department of Cultural Heritage of the University of Bologna, Ravenna Campus. She conducts activities in the area of Cultural Heritage Conservation Science through research, technical and scientific consultancy, education and diagnostic services. Research activities carried out within the Conservation Science Laboratory for Cultural Heritage cover several fields of study related to archaeological materials, artefacts of historical and cultural interest and architectural heritage. Research aims include the characterization of materials constituting the cultural heritage; evaluation of the state of conservation and study of degradation pathologies; art diagnostics and authentication of art objects; evaluation of the suitability and effectiveness of products and methods used during conservation and restoration interventions; micro- and macro-environmental analyses. She is author and coauthor of over thirty publications regarding valorisation of cultural heritage and diagnostic analysis on works of art. She has taken part, as relator, in numerous national and international conferences in the field of management and conservation of cultural heritage. She has been coordinator of numerous cases of authentication of works of art and, in recent years, she has been dealing with diagnostic analysis on paintings of Leonardo’s pupils and followers
Dr Gregory Day – is an assistant professor of legal studies at the Oklahoma State University Spears School of Business. Before Dr. Day’s academic appointment, he practiced law at Morris, Nichols, Arsht & Tunnell LLP in the firm’s Commercial Counseling practice group. Dr. Day also has a Ph.D. in political science (with a focus in international relations) from the University of Mississippi. Currently, Dr. Day’s research primarily concerns the legal aspects of markets and market failure. Oftentimes these works touch upon the relationship between human rights and business
Prof Dr David Yermack – is Chairman of the Finance Department at New York University’s Stern School of Business, where he has been a member of the faculty since 1994. He is also an Adjunct Professor of Law at the NYU School of Law, Director of the NYU Pollack Center for Law and Business, and a Research Associate of the National Bureau of Economic Research law and economics program. Professor Yermack in 2014 co-taught a full semester course at NYU on bitcoin and cryptocurrencies, the first course of its type at a major research university. He is now working to implement a full curriculum at NYU in the FinTech area.
In addition to his recent research on blockchains and digital currencies, Professor Yermack has published some of the most cited papers in the fields of executive compensation and corporate governance. He has also written papers on such diverse topics as options in baseball player contracts, incentive compensation for clergymen, tobacco litigation, fraudulent charitable contributions, CEOs’ mansions, and the fashion industry. Professor Yermack was awarded AB (1995), MBA (1991), JD (1991), AM (1993) and PhD (1994) degrees, all from Harvard University
Patricia Chen – is producer-cum-director and author of Leading Patrons of Asian Art In Conversation films and publications. Patricia was columnist of Flash Art’s “Asian Insider” and C-Arts’ “Collectors’ Guide to the Southeast Asian art market”; she also contributed to The Art Newspaper, Financial Times and Art Market Report on the Asian art market and scene. Patricia created Southeast Asia’s first modern and contemporary art indices; her published articles and public lectures on the Southeast Asian art market inaugurated ways of advancing the study of art and market via quantitative data analyses and primary field work. Patricia graduated summa cum laude from the Sotheby’s Institute of Art with a Master’s degree (Distinction) in Art Business. Prior, for six years, she was Founding General Manager of Sculpture Square, a contemporary art space in Singapore. Her short film, Uli Sigg: China’s Art Missionary, and publication, Uli Sigg In Conversation: Collecting Chinese Contemporary Art, were launched in May 2014 in Hong Kong. Her second film, The 24-Hour Art Practice was withdrawn an hour before its premieres in Singapore and Indonesia. Patricia is also a curator – her recent pop-up show, SCOUT: Emerging Art Practices (Singapore) involving 25 artists in 16 shipping containers, was met much success and covered by BBC, Al Jazeera, and named “Top 5 shows around Art Stage Singapore 2016” by ArtInfo.com
Tom Christopherson – is a solicitor of the Supreme Court of England and Wales and Head of Art and Law Studies at the Sotheby’s Institute of Art-London. Previously Tom was Senior Director, Special Projects and Business Education at Sotheby’s from 2013-2016 and Sotheby’s European General Counsel from 2001 – 2013, heading the Legal Department in Europe and also dealing with matters arising in Asia, having joined Sotheby’s in 1997. Tom read Modern History at Oxford before requalifying as a solicitor and working at the private client specialist law firm Withers from 1987-1989 and at Freshfields the international corporate law firm from 1989 to 1996. During this time Tom worked in London and Brussels specialising in commercial and anti-trust law, and spent a year on secondment with the Corporate Strategy Department at the Rank Organisation plc.
Tom served for several years on the Committees of the British Art Market Federation and the Society of Fine Art Auctioneers and Valuers, of which he is now an Honorary Associate. Tom is a Liveryman and Charitable Trustee of the City of London Company of Arts Scholars, and is due to be installed Master of the Company for 2016-2017
Dr Megan Aldrich – has had a lengthy career at Sotheby’s Institute in London. From 2005-14 she was Academic Director, including fifteen months as Acting Director; from 1990 – 2005 she was programme director of the MA in Fine and Decorative Art. She continues to teach and supervise MA and PhD students in aspects of architectural and decorative art history, as well as contributing to conferences and publications, research projects, and public programmes. Her work regarding stylistic revivals, historicism and replication in aspects of the decorative arts has developed her concerns about authenticity in this under-explored area of the art market. Recent projects include Art and Authenticity (London: Lund Humphries, 2012) co-edited with Jos Hackforth-Jones.
She is currently editor of the journal of the Decorative Arts Society in London, having previously edited the journal of the Furniture History Society, and was elected a Fellow of the Society of Antiquaries of London in 2001. She established the Decorative Art and Design Group (DADG) website in 2014
Willem O. Russell – has been practicing law since 1975 . He is a solicitor with the lawfirm Warendorf in Amsterdam. Throughout his professional career he has been on the board of many institutions and organizations. He has a keen interest in art and has dealt with many art & law cases
Fredy von Hombracht–Brinkman – studied Dutch Law at Groningen University and at Erasmus University, Rotterdam. She graduated from Erasmus University, Rotterdam in Private Law.
Fredy is the acting Director and Administrator of the Netherlands Arbitration Institute in Rotterdam. In1993 she acted as Deputy-Secretary of the NAI until 2001. From 1998 until 2006 she acted as editorial secretary of the Dutch Arbitration Law Journal (“Tijdschrift voor Arbitrage”). Currently she is a member of the editorial board of the Dutch Arbitration Law Journal and a member of the Advisory Board of the Dutch Arbitration Association.
Fredy works closely together with leading individuals in the Dutch world of arbitration and worked onthe developments in arbitration law, including the revised arbitration law in the Netherlands. Also she was a member of the team that worked on the NAI Arbitration Rules of 2015
Lawrence Shindell – is 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
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 forthcoming article in the same journal (to be published May 6), 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
Drs Neeltje Romke de Vries – studied Private Law and Art History with a minor in Conservation & Restoration at the University of Amsterdam. After an internship at Sotheby’s, she wrote her master thesis titled „The art expert opinion: what art experts must do or should do before they attribute or date a work of art.” This thesis examined the possibility of formulating standards for the attribution process based on research of art history, comparative law analysis, professional regulation and market research. Neeltje also worked at the Stedelijk Museum negotiating copyrights and at a boutique law firm as a legal advisor specializing in intellectual property law. She currently works in the cultural field, providing legal advise to creatives, and sometimes lecturing about authenticity in art. Neeltje assisted Authentication in Art (AiA) hosting the Art & Law workgroup during the 2014 congress
Robert Norton – is an internet media executive. He was formerly CEO and co-founder of Sedition art and Saatchi Online. After completing his studies, he worked for Reuters as a correspondent and producer in London and New York.
He joined AOL Europe in 1996 as part of their launch team. He later acted as Head of e-commerce where he launched the first shopping channel for AOL UK and signed the company’s first pan-European e-commerce deals.
He served as business development director for Nomade.fr, a French search engine, later purchased by Kingfisher and Groupe Arnault, in 1998 and 1999.
With Toby Rowland, later a co-founder of King.com, Robert in 1999 launched his first company, Clickmango.com. The pair secured $5 million in seed financing in eight days, setting a precedent for the fastest round of European seed financing.The business became a case study for the London Business School MBA program for students enrolled in the entrepreneurial management course.
Robert headed TVF International in London, the UK’s largest independent distributor of factual TV programming, in 2002 and 2003. He negotiated rights for acquisitions, co-productions and pre-sales agreements.
In 2003, Robert launched Colorcalm, a lifestyle media business that produced and distributed ambient video content for hotels, hospitals and homes. His clients included W Hotels, Bath & Body Works, Pantone, JetBlue Airways, Peter Saville and John Maeda.
Robert joined King in 2006 to develop distribution and secure licensing deals for content. He was instrumental in forming groundbreaking partnerships with global media companies including NBC, CBS, Endemol, Reveille and Fremantle Media and partnerships with Yahoo.com and RealNetworks. Robert also secured licensing deals for the video game versions of such TV hits as “American Idol,” “Deal or No Deal,” “Biggest Loser” and “1 vs. 100,” among others.
He raised $5 million in 2010 to relaunch Saatchi Online as an ecommerce platform for artists and was appointed CEO.
In 2011, together with art dealer Harry Blain, he co-founded and launched Sedition art, the first dedicated platform to distributing art in digital format by the world’s leading contemporary artists including Damien Hirst, Bill Viola, Jenny Holzer, Tracey Emin and Shepard Fairey among others.
Robert has written for The European, CBS Marketwatch and The Financial Times online.
Robert’s international media experience began when became the press officer of world champion heavyweight boxer Lennox Lewis
Prof em Dr Arie Wallert – studied art history and analytical chemistry at Groningen University. Even before the successful defense of his PhD thesis on techniques and methods on mediaeval manuscript illumination (Koorboeken en Kookboeken, 1991), he was appointed as museum scientist for the Getty Conservation Institute in Los Angeles. There, he worked primarily on research for the collection of the J. Paul Getty Museum, in Malibu. He also worked on behalf of the Getty Conservation Institute for so called ‘special projects’ (precolumbian textiles in Peru, prehistorical cave paintings in Baja California, conservation problems of the Dead Sea Scrolls in Jerusalem, reliefs on the Holy Sepulchre Church in Jerusalem, the mediaeval mosaic on the outside wall of St. Vitus Cathedral in Prague, etc.). From 1996, he worked as curator scientific research at the Rijksmuseum Amsterdam. In 2012 he became professor for Technical Art History at the department of Art History of Amsterdam University (UvA). He published widely in several books, conference proceedings and in refereed journals. Presently he runs a private practice on technical art history research: ArtResearch. He did research for several institutes, museums and private collectors. He is presently involved in technical studies on Hercules Segers, seventeenth century Spanish polychrome sculpture, Ming-dynasty Bhuddist sculpture, the painting techniques of Simone Martini, and authenticity studies on J.M. Whistler, and Johannes Vermeer. His main interests are in the study of historical technology, mediaeval technical treatises, and the identification of pigments and colorants
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
Elisabetta Gnignera – is an independent researcher in History of Dress, specializing in Italian Renaissance Dress, Headdresses and Hairstyling. In 1992, when she was preparing her final dissertation for the diploma at the Accademia di Alta Moda e d’Arte del Costume Koefia in Rome. She decided to concentrate on women’s hairstyles and headdresses in the 15th century. After a career as a Fashion Manager, in 2010, she finally published her first book as sole author, the result of almost twenty years of studies and research: “I soperchi ornamenti. Women’s Headdresses and Hairstyling in fifteenth-century Italy” (Protagon, 2010). Since then, her collaboration with scholars, international art historians and experts, has grown steadily. Besides writing essays (the most of her contributions are still unpublished and confidential ones, because of the importance of the works of art involved…) on the analysis and precise dating of works of art based on dress, fashion, hairstyles and headdresses, her research has allowed her to investigate in detail, from the vestimentary point of view, some works of Leonardo da Vinci, particularly La Dama con l’Ermellino, the drawing on parchment, known as La Bella Principessa, recently attributed to the great Tuscan painter, and, very recently, the Louvre’s Mona Lisa whose clothing and ornaments Elisabetta investigated both in the known version of the Louvre, and – thanks to a long-lasting professional cooperation with French Engeneer Pascal Cotte – in the alleged pre-existing version underlying the Louvre’s Mona Lisa, as emerged from the multispectral analysis and findings recently disclosed by Pascal Cotte.
Being considered a leading Historian of Italian Renaissance Dress and Hairstyles, Elisabetta Gnignera has widely lectured on the subject of headdresses, hairstyles and fashion of the 14th and 15th centuries in Italy
Pascal Cotte – is an engineer, optician and the inventor of the first multi-spectral high definition camera. By using a projection lighting system combined with the 240-megapixel camera, Cotte can analyze paint pigments and create digital versions of paintings, which show the true colors of original artworks. Using the data collected, he can explore inside the layers of paint using the L.A.M. technique (Layer Amplification Method).
Cotte, 57, is the founder and President of various companies and has specialized in digital imaging since 1980. He has designed and developed numerous R&D systems in the field of electronic imaging.
In 2004, he performed multi-spectral scans of the famous “Mona Lisa” in the Louvre Museum, and in 2007 scanned another celebrated Leonardo da Vinci painting “The Lady with an Ermine”. Between 2005 to 2009, his company multi-spectrally scanned Rubens, Géricault, Delacroix, Rembrandt, Chagall, Fragonard, Picasso, Manet, David, Renoir, Van Gogh and over 1500 fine art works from private and public collections. More recently, Cotte used his technology to demonstrate that La Bella Principessa, which was believed to be an early 19th century painting, is actually a lost Da Vinci artwork. Cotte also contributed to the success of the European project Crisatel, initiated to create a new standard of digitizing global pictorial documents. In 2011 he performed multi-spectral scans of the famous “La Belle Ferronnière” in the Louvre Museum before the restoration
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
Dr Jennifer L. Mass – has been teaching and conducting research in cultural heritage science for over twenty years. She has a Ph.D. in inorganic chemistry and materials engineering from Cornell University, and did her Andrew W. Mellon postdoctoral fellowship at the Metropolitan Museum of Art’s Department of Objects Conservation. She is currently the Senior Scientist and Director of the Winterthur Museum’s Scientific Research and Analysis Laboratory and Adjunct Faculty in the Winterthur/University of Delaware M.S. Program in Art Conservation. She also acts as Consulting Senior Scientist for the Rijksmuseum, and as Adjunct Faculty at the University of Delaware Department of Chemistry and Biochemistry. She has been President of Scientific Analysis of Fine Art, LLC, a consulting firm specializing in questions of art attribution and state of preservation for the past eight years. Most recently she has focused her research program on the degradation mechanisms of the pigments of the early modernists, in particular the works of Henri Matisse, Pablo Picasso, and Edvard Munch. She has also worked on the development of new non-destructive depth-profiling techniques for the study of buried paintings, including confocal XRF for which she and her colleagues won awards from the American Materials Research Society and the Italian Society for Nondestructive Testing. She presents plenary and keynote lectures on her research worldwide each year, and her work has been widely published in the physics, chemistry, materials engineering, and art conservation literature as well as in the international press. She has lectured at the Louvre, the Getty, the Metropolitan Museum of Art, the Art Institute of Chicago, the Smithsonian Museum of American Art, the Barnes Foundation, and the Guggenheim Museum in Bilbao. She is currently studying the alteration mechanisms of the yellow paints in Edvard Munch’s c. 1910 version of The Scream
Kristin de Ghetaldi – is a painting conservator who graduated in 2008 with a Master of Science degree from the Winterthur/University of Delaware program in Conservation. After completing a three-year Andrew W. Mellon Fellowship in Painting Conservation at the National Gallery of Art, she enrolled in the Preservation Studies Program at the University of Delaware where she is currently focusing on employing novel analytical techniques to explore 15th-century Italian painting techniques. Working together alongside scientists, Kristin has been given the opportunity to use a variety of analytical techniques focusing on questions specifically relating to media analysis. She has also participated in internships and conservation positions at the J. Paul Getty Museum, the Rijksmuseum in Amsterdam, and the RISD Museum. Kristin earned a post-baccalaureate certificate in conservation (2004) at the Studio Art Centers International in Florence, Italy and a BA (2003) in Chemistry from Grinnell College. Most recently she has participated in the development of University of Delaware’s Technical Art History Website, a two-year project sponsored by the Samuel H. Kress Foundation.
Kristin passed her exams in December 2012 and her proposal presentation in May 2013, and is now working on her dissertation. Her dissertation committee members are: Perry Chapman (ARTH) and Joyce Hill Stoner (ARTC) [co-chairs], Murray Johnston (CHEM), Chris Petersen (ARTC), and Meredith Gill (ARTH, University of Maryland)
Philippe Koutouzis – has been involved for over 35 years in the International Modern and Contemporary Art Market. He moved to Hong Kong in 1991 and expanded his expertise by working with Chinese Artists. Koutouzis has organized and curated numerous gallery exhibitions and museum shows around the world including two retrospective shows at NAMOC (Beijing): Manolo Valdés (2008) and Chu Teh-Chun (2010); as well as other shows at Musée Guimet (Paris) and Taipei Fine Arts Museum (Taipei). Koutouzis was one of the first to promote the modern and contemporary Asian art scene: An early champion of the work of Zao Wou-Ki and Chu Teh-Chun, he brought both to the American market and curated several important museum shows.
In 1997 he was Appointed Chargé de Mission of the Musée Guimet, and also became a full member of the ADAGP. Beginning in 2003 Koutouzis consulted for the multinational Marlborough Gallery, on business development creating their Asia program. He has also been a consultant to banks on Art Investment and Art Funds.
Koutouzis is a featured guest speaker at Art Forums and Events (Asia Society, Sotheby’s, Christie’s, ACCW, AAARI, IESA), as well as a regular contributor to various Art and News publications in the West and in Asia. In 1991 he dedicated himself to the study and research of the life and work of T’ang Haywen, and in 2002 published his monograph on the artist: T’ang Haywen, Paths of Ink. Koutouzis is a member of CRSA and is currently working on the catalogue raisonné of T’ang Haywen
Dr Ahmed Elgammal – is an associate professor at the Department of Computer Science, Rutgers University. He is the founder and director of the Art and Artificial Intelligence at Rutgers, which focuses on data science in the domain of digital humanities. He is also an Executive Council Faculty at Rutgers University Center for Cognitive Science. Prof Elgammal has published over 140 peer-reviewed papers, book chapters, and books in the fields of computer vision, machine learning and digital humanities. He is a senior member of the Institute of Electrical and Electronics Engineers (IEEE). He received the National Science Foundation CAREER Award in 2006. Dr Elgammal recent research on knowledge discovery in digital humanities received wide international media attention, including reports on the Washington Post, New York Times, NBC News, the Daily Telegraph, Science News, and many others
James Butterwick – was born in 1962 and studied at Eton College and the University of Bristol in the Russian and History of Art Departments.
In 1985 he was awarded one of 6 graduate trainee places at Sotheby’s, London before becoming an independent dealer in Russian Art is 1986. Described by the site Art.ru as ‘one of the leading authorities on Russian Art in the West today,” James Butterwick began collecting and selling Russian Art in 1985 and has established himself as one of the world’s leading experts. He moved to Moscow in 1994, becoming the only foreign member of the Russian Society of Private Collectors. At the same time, he began lectruing on the history of Russian Art as well as setting up a number of corporate collections. At the time his own collection consisted of works by Russian masters, such as Vrubel, Serov, Grigoriev and Petrov Vodkin a number of which were exhibited at museum exhibitions in Russia, including the Tretyakov Gallery and the Russian Museum.
James Butterwick has been a tireless campaigner against paintings of dubious authenticity that plague the Russian market. In 2011 he formed part of a Russian group of collectors and museum curators that exposed a scandal surrounding Natalia Goncharova – he lectured on the subject at the Tretyakov Gallery in Moscow in 2013. Further to that were lectures in London and at New York University in June 2015.
In 2008 James became the only foreign member of CINOA-recognised International Confederation of Antique and Art Dealers of Russia and the CIS. In 2012 Sotheby’s Moscow put on the exhibition ‘Russian Line, works from the collection of James Butterwick’ and in 2013 James was voted into the Society of London Art Dealers.
In 2015 James became the first gallery dealing in early 20th century Russian Art to be invited to exhibit at TEFAF, Maastricht. His first exhibition saw four works by Alexander Bogomazov (1880-1930) sold to the Kroller Muller Museum. At TEFAF 2016 he is putting on a personal exhibition of the artist
Ir Rolph Holthuijsen – is a consultant of NEN, the Dutch standardization Body. Rolph is working now 14 years at NEN in various fields for the department of Materials and Construction Products (including on Plastics).
Rolph studied at the University of Technology in Delft on civil engineering and in Twente on business administration. After his study he worked as a consultant on organizations within a chemical company, as a policy officer on quality within a building company, as a consultant in a certification body
Oliver Spapens – is a student Law, as well as Early Modern Art at Leiden University. Oliver has worked as paralegal at several law firms both Dutch and International. He has done several internships focused on History of Law, including an internship at the Peace Palace Library. He was assistant at the 66th conference of the Société Internationale ‘Fernand de Visscher’ pour l’Histoire des Droits de l’Antiquité (SIHDA). He gained art historical experience at the Dutch National Museum for Antiquities. He has been working for Authentication in Art since 2013. He is involved with the Authentication in Art Mediation Board and is one of the co-organizers of the 2014 and 2016 Authentication in Art Congress. He also works at indentifying, analysing, interpreting and commenting on lawsuits on the intersection of Art and Law for the Authentication in Art Foundation
Prof Dr Nico Schrijver – is Chair of Public International Law at Leiden University, and Academic Director at the Grotius Centre for International Legal Studies, Leiden University/Campus The Hague. He is also Visiting Professor on Europe and North-South relations at the Université Libre de Bruxelles, at the Institute of Law of the Chinese Academy of Social Sciences, Beijing and at the Universiti Teknologi Mara, Kuala Lumpur, Malaysia; President of the Netherlands Society of International Law; Member of the Royal Netherlands Academy of Arts and Sciences (since 2008); Member of the Permanent Court of Arbitration, The Hague; Member (member associé) of the Institut de Droit International (elected in 2007); and Member of the UN Committee on Economic, Social and Cultural Rights. He has an extensive publications record