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 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
Pieter Hoogendijk – In 1977 started his business as an antiques dealer with his own restoration workshop. When Pieter was in his twenties he joined Claude Bonnal in Paris to become a furniture restorer where he stayed for two years, the best place imaginable in this area. He then went to London were he completed the Works of Art Course at Sotheby’s. He is registered with the Federation of Registered valuers/appraisers, brokers and auctioneers in movable goods (Federatie TMV) under registration number 99/153 and as such certified according to the European Standard EN-45013, under registration number R19633.
Pieter Hoogendijk was among the select group of six antique and art dealers who took the plunge over the ocean in 1982 and set up a fair at the Waldorf-Astoria Hotel in New York City, Fine Arts of The Netherlands. He further exhibited in Delft, at PAN Amsterdam, TEFAF and various exhibitions in London, Paris and the USA like the San Francisco Fall Antiques show. Hoogendijk has been part of the board of trustees of TEFAF for eight years. He has served on the Board of Experts and is member of the Federation of Appraisers, Brokers and Auctioneers in Movable Property (Federatie TMV). From 1997 to 2009, he was president of the Dutch Antiques dealers association (KVHOK), of which he has been a member since 1982. He is a board-member and between 2012 and 2016 he was President of the International Confederation of Négociants and Oeuvres d’Art (CINOA). The global federation of International Art and Antiques dealer associations which represented a total of 5,000 dealers from 32 associations in 22 countries. Member of the French Antiques dealers association (SNA)
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
Dr Jennifer Mass – is President of Scientific Analysis of Fine Art, LLC. She is also the Andrew W. Mellon Professor of Cultural Heritage Science at Bard Graduate Center for Decorative Arts, Design History, and Material Culture. Prior to her tenure at SAFA and Bard she was the Director of the Scientific Research and Analysis Laboratory at The Winterthur Museum, and taught conservation science at the University of Delaware M.S. Program in Art Conservation and the SUNY College at Buffalo M.A. Program in Art Conservation. In addition to her position at Bard, she currently lectures annually at the NYU Institute of Fine Arts Conservation Center and at the Sotheby’s Institute of Art.
Jennifer earned her Ph.D. in Inorganic Chemistry and Materials Engineering from Cornell University, and did her postdoctoral work at the Sherman Fairchild Center for Objects Conservation at the Metropolitan Museum of Art. She has published numerous articles on her research in the art conservation and scientific literature, and gives dozens of lectures each year on her work both nationally and internationally. She has worked and published on the painting materials and techniques of Henri Matisse, Pablo Picasso (blue period), Edvard Munch, Paul Cézanne, Chaim Soutine and Amedeo Modigliani. Her work has been supported by the National Science Foundation, the Kress Foundation, the Andrew W. Mellon Foundation, and the Bank of America. She has co-organized the Gordon Research Conference in Scientific Methods in Cultural Heritage, Synchrotron Radiation in Art and Archaeology, and two Materials Issues in Art and Archaeology Symposia. Jennifer’s work has received worldwide media attention, being highlighted on NPR’s Science Friday and MSNBC as well as in The New York Times, The Washington Post, the BBC, the L.A. Times, and The Guardian. She is also the head of the scientific vetting committee at TEFAF New York, and a member of the Appraiser’s Association of America advisory council
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 – co-founded, led the regulatory organization and several rounds of financing of, and for eleven years headed the first title insurance company serving the international art industry, U.S.-New York-headquartered ARIS Title Insurance Corporation (NAIC #12600), which today is a wholly-owned subsidiary of Argo Group International Holdings, Ltd. (NASDAQ: AGII). During his tenure as its chairman and chief executive officer, ARIS became the art industry’s leading art asset risk management institution focusing on the industry’s range of legal title-ownership risks. Because the art industry’s legal title risks intersect with the art industry’s authenticity risks, ARIS also became a global leader in innovations to help address the art industry’s authenticity risks on a prospective basis. A lawyer by profession, Mr. Shindell holds licenses in a number of U.S. jurisdictions including admission to the Bar of the United States Supreme Court. Before forming ARIS, Mr. Shindell was a public prosecutor and then in private practice, representing or litigating against Fortune 500 companies in complex commercial and insurance trial and appellate litigation including in international forums, in many instances in significant profile cases resulting in reported U.S. state or federal trial or appellate court decisions. Mr. Shindell has given expert testimony before the U.S. Tax Court on behalf of ARIS clients and before the U.S. Congress, House Financial Services Committee, on art and financial industry and regulatory sector risk related to art objects and the art industry. Mr. Shindell holds the highest rating “AV Preeminent” by the legal profession’s leading Peer Review Rating organization, Martindale-Hubbell