Milko den Leeuw – is a painting conservator specialized in the technical and scientific investigation of paintings. He completed his training in conservation and Pictology (an analytical method for attribution and evaluation of paintings) at the studio Dora van Dantzig in Amsterdam in 1989. After an internship on a project of seventeenth century Dutch masters, he founded the Atelier for Restoration & Research of Paintings (ARRS) in 1991. Since then Milko den Leeuw has worked for many museums, art dealers and private collectors all over the world. He has authored numerous publications that have appeared in museum catalogues, international peer-review journals and conference papers.
ARRS has produced numerous international publications concerning new techniques in authentication research and rediscoveries of paintings. ARRS has been involved in the conservation of important masters in Dutch Fine Art such as Rembrandt van Rijn, Hendrick ter Brugghen and Gerard ter Borch and has contributed to the rediscovery of paintings by Jan Lievens, Capser Netscher and Quinten Matsijs. ARRS has also performed conservation and research on National Art Treasures like the ceiling dating from 1672 by Gerard de Lairesse from the International Court for Peace & Justice in The Hague, and projects on Italian masters such as Giovanni Bellini and Canaletto, French masters such as Manet and Degas, German masters such as Lucas Cranach and Max Beckmann, Russian masters as Kazimir Malevich and Nathalia Goncharova and American masters such as Andy Warhol and Paul Thek.
ARRS has also assisted in court cases such as the 20-year-old forgery lawsuit concerning the Dutch group ‘Groninger Ploeg Painters’ that was resolved by ARRS investigations. In high appeal the Dutch Court of Law sentenced that the disputed paintings were fakes. The forger did not plead guilty for selling or making these fake paintings. For the very first time in history a painting forger did not confess the pressed charges before a verdict of a court was reached. The applied protocol on basis of objective technical investigation, delivered by ARRS, was the basis of this unique jurisprudence. ARRS holds a worldwide reputation for bridging art history, conservation technique and material sciences. ARRS brings expertise and experience for more than 25 years of cooperative work with auctioneers, private collectors, museum conservators, art advisors, legal advisors, committees of catalogue raisonnées and students
Dr Jennifer 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
Dr Daniela Pinna – graduated in Biology at Padua University in 1976. Since 1987 she has been working as a biologist at Italian Cultural Heritage Ministry and she was coordinator of the scientific laboratory of Opificio delle Pietre Dure, Firenze, Italy in the period 2003-2012. Since 2011 she has been lecturing ‘Biodeterioration and degradation of bioarcheological materials‘ at the same University (International Degree Course Science for the Conservation-Restoration of Cultural Heritage). She has been involved in the European Projects EU-ARTECH (Access Research and Technology for the Conservation of the European Cultural Heritage – 2004 to 2009) from, and CHARISMA (Cultural Heritage Advanced Research Infrastructures: Synergy for a Multidisciplinary Approach to Conservation/Restoration – 2009-present). She was awarded the following grants:
1996-1998 Grant from Italian National Research Center for the research ‘Endolithic lichens on limestone: ecological and physiological study. Evaluation of suitable control methods‘. 2008 Grant by Florence municipality to carry out the scientific study of Neptune stone statue and bronze statues located in Piazza della Signoria, Florence. 1988 Grant from Italian National Research Center for the organization of the course ‘Lichens and deterioration of stones‘, Villa Adriana, Tivoli (Roma), 17-22 September 1990. January – March 2010 Grant as Conservation Guest Scholar at the Getty Conservation Institute, Los Angeles, US. Project title: Assessment of methods and products applied for the control of biodeteriogens growing on artificial and natural stone objects. State of the art and perspectives. October 2012 – January 2013 Grant as Guest Scholar at the Metropolitan Museum, New York, US. Project title: Darkening alterations occurring on marble statues located at Orsanmichele Church (Florence, Italy). What is their origin? Daniela is involved in the activity of CEN/TC 346 (CEN – European Committee for Standardization and TC346 is in charge for standards related to conservation of cultural heritage). Her main research fields are biodeteriotation of heritage objects, prevention and control methods against biodeteriogens, water repellent and consolidant products for stone objects, assessment of past conservation interventions. She is author of ‘Scientific Examination for the Investigation of Paintings: A Handbook for Conservator-Restorers’, two other books and almost one hundred articles
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
Prof Dr Robyn Sloggett – is Director of the Centre for Cultural Materials Conservation (CCMC). She has qualifications in Art History, Philosophy and Cultural Materials Conservation. As Director of the CCMC she manages the diverse conservation, teaching and research programs of the Centre. These programs include responsibility for the conservation of the cultural collections of the University of Melbourne (with over 32 separate collections owned or managed by the University) and the provision of a large program for external clients with specialist expertise in painting, frame, paper, objects and textiles conservation. The CCMC also delivers the only comprehensive post-graduate conservation professional programme in the Australasia-Pacific region, as well as courses in Art Authentication and Photographic Preservation.
Her contribution to research and teaching has developed in both an academic and professional framework. In her previous role as Deputy Director and Grimwade Chief Conservator in the Ian Potter Museum of Art she managed both Conservation and Collections Management, developing research programs which linked the scientific analysis of art and archival material (in partnership with researchers in the Faculty of Science) with art historical analysis (in partnership with researchers in the Faculty of Arts) and collection management (in partnership with staff in the Ian Potter Museum of Art and Information Services). These collaborations resulted in over 23 competitive research grants and 17 successful ARC projects.
Robyn is currently a member of the University’s Cultural Collections Committee; founded and is Production Manager for the Melbourne Journal of Technical Studies in Art; is a member of the Collections Committee of the Library Board, State Library of Victoria; and is currently Chair of the Indemnification Committee Arts Victoria. In the past she has been a member of a number of editorial boards (including Museums National Museum Australia Magazine and Open Museum Journal) and a number of organising committees (including the IIC’s 50th Congress Tradition and Innovation). She was a Board Member of the Ian Potter Museum of Art from 2000 to 2005, a Foundation Director of AusHeritage, a member of the Federal Government’s Conservation and Collection Management Working Party of the Heritage Collections Council, and both a State and National President of the Australian Institute for the Conservation of Cultural Material (AICCM Inc). She has been a member of course advisory committees for both the University of Canberra and Deakin University. She is an associate of the School of Enterprise and the Centre for Free Radical Chemistry and Biochemistry at the University of Melbourne.
Her research interests include programs in cultural materials conservation that focus on the materials and techniques of artists (particularly in Australia and South East Asia), ethical and philosophical issues in cultural materials conservation, and the development of scientific techniques for conservation.
In 2004 she was awarded the Australian Institute for Cultural Materials Conservation’s Conservator of the Year Award for service to the profession
Oliver Spapens – is a student Civil 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