David Grosz is President of Artifex Press, a publisher of digital catalogues raisonnés. Artifex Press has developed a patented software platform and a dedicated research and publishing program in order to produce, edit and distribute catalogues raisonnés for an expanding list of artists. To date, Artifex Press has published catalogues raisonnés on the work of Chuck Close, Jim Dine and Tim Hawkinson, and has several more in progress, including on Carl Andre, Robert Irwin, Sol LeWitt, Agnes Martin, Niki de Saint Phalle and Frank Stella.



Lucy Myers is Managing Director of Lund Humphries, a leading publisher of illustrated books on Art, Art Business, and Architecture & Design. Lund Humphries has a long history of working with artists and their estates to publish highly illustrated artist monographs and catalogues raisonnés: recent and current catalogue raisonné projects include the 3-volume Hans Hofmann: Catalogue Raisonné of Paintings (2014), Elisabeth Frink: Catalogue Raisonné of Sculpture, 1947-93 (2013) and Gerald Laing: Catalogue Raisonné (2017).



Julian Radcliffe is Chairman of The Art Loss Register, which he founded 25 years ago as the central international and searchable database of stolen and fake art for the art trade, insurance industry and law enforcement. It holds over 500,000 records of stolen and suspected fake items and undertakes 450,000 paid searches for its clients which include artists' foundations, dealers, museums, auction houses and art fairs. The Register provides support to the vetting committees at major art fairs,such as TEFAF, negotiates the return of stolen art and the resolution of title and similar disputes. He recently spoke at the Catalogue Raisonné Scholars Association conference in New York on 'Due Diligence for the Authors of Catalogues Raisonnés'.



Dr Nicholas Tromans is the author of books and articles on many aspects of 19th-century art, including Orientalist painting (Yale University Press, 2008) and artists Richard Dadd (Tate Publishing, 2011) and G.F. Watts (Paul Holberton Publishing, 2017). He was previously Senior Lecturer in the Faculty of Art, Design and Architecture at Kingston University, London, and has also worked with many museums including Dulwich Picture Gallery and Tate Britain. Since 2013 he has been Curator of Watts Gallery, Compton, where he oversees the collections and exhibitions. He is hoping that 2017 – the bicentenary of the birth of G.F. Watts – will see the beginning of a catalogue raisonné of the artist’s work.


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Dr David Anfam is Senior Consulting Curator of the Clyfford Still Museum, Denver, and Director of its Research Center. His diverse writings include Mark Rothko: The Works on Canvas – A Catalogue Raisonné (Yale University Press, 1998), which took almost a decade to complete and for which he received the 2000 Mitchell Prize for the History of Art; Anish Kapoor (Phaidon Press, 2009); and Abstract Expressionism (Thames & Hudson, 1990; second edition 2015). David recently curated Abstract Expressionism alongside Edith Devaney at the Royal Academy of Arts, London.


Lindsay Aveilhé is editor of the Sol LeWitt Wall Drawings Catalogue Raisonné, which will be published online by Artifex Press in 2017. The catalogue will be the definitive list of LeWitt's most celebrated body of work, and will include several newly discovered wall drawings as well as previously unpublished installation histories, photography and multimedia. A New York-based independent curator, Lindsay's recent projects include Sol LeWitt and Lucy McKenzie at the city's Artist’s Institute and Another Place at 205 Hudson Street Gallery, Hunter College.


Dr Lee Beard has been studying the art of Ben Nicholson for the past 17 years. His doctoral thesis considered the relationships between the artist’s abstract work, modern architecture and the domestic interior. In 2007 he organized an international two-day conference at the Courtauld Institute on Nicholson's career and legacy. Lee began cataloguing the artist’s paintings and carved reliefs in 2009 and is currently setting up a charitable organization to enable the completion and publication of the catalogue raisonné.


Susan Cooke is Associate Director of the Estate of the American artist David Smith and Director of Programming for the Catalogue Raisonné Scholars Association, a US-based society whose membership is open to catalogue raisonné authors and researchers, and anyone interested in the work they do. She is currently directing a revised and updated catalogue raisonné of David Smith’s sculpture (projected publication date 2020; Yale University Press), and is the editor of the forthcoming David Smith: Writings, Lectures, Interviews (University of California Press, 2017).


Dr Dietmar Elger is Director of the Gerhard Richter Archive at the Staatliche Kunstsammlungen Dresden. Elger worked as a secretary to the artist (b1932) in 1984/85 and edited a first version of the catalogue raisonné in 1986. Since then he has been a curator at the Museum am Ostwall, Dortmund, and the Sprengel Museum Hanover. He is the author of a biography on Richter (University of Chicago Press, 2009) and co-editor of the artist’s writings (Thames & Hudson, 2009). He is currently preparing a 6-volume catalogue raisonné of Richter's work, which was started in 2003 and is intended for completion in 2021 (Hatje Cantz, 2011–2021).


Dr Jo Melvin is a curator and writer, Reader in Archives and Special Collections at Chelsea College of Arts, UAL, London, and Director of the Estate of Barry Flanagan. She devised the Flanagan website as a portal between artwork and archive, leading to the catalogue raisonné. Recent projects she has curated include: Animal, Vegetable Mineral on Flanagan's work at Waddington Custot Gallery, London; and Christine Kozlov: Information No Theory at the Henry Moore Institute, Leeds. Among other projects, she is currently devising an exhibition and publication with the Mahler & LeWitt Studios in Spoleto, Italy, as well as compiling the catalogue raisonné of the complete works of Barry Flanagan to be published by Modern Art Press in 2018.


James Rawlin was formerly Head of Modern and Post-war British Art at Sotheby's for almost ten years and is now an independent advisor. Among many important auctions, he oversaw the landmark sale of the Evill/Frost Collection in 2011 and since leaving Sotheby's has curated The Shape of Things: Three Decades of British Modernist Sculpture (2014) for Daniel Katz Gallery. He has worked in 20th-century British art since 1990 and is currently helping to assemble several private collections in this field.


Karen Sanig is a partner at Mishcon de Reya solicitors and head of the firm's Art Law group, which she founded in 1995. She advises members of the art world on all aspects of art-related legal matters, and her clients include leading artists, collectors, dealers, galleries, museums and governments. Karen is described in the Legal 500 and Chambers legal directories as 'the go-to person for art law' and ‘one of the few who really understands the art market’.


Robert Upstone was a Tate curator for 23 years and then Director of The Fine Art Society. At Tate he was responsible for Modern British acquisitions and led a major cataloguing project. He has also curated many museum exhibitions, and serves on the Government’s Acceptance In Lieu Panel. In 2015 Robert began a catalogue raisonné of the paintings of Christopher Wood; it will be published in book form and provide detailed histories of each work as well as interpretative texts and notes on condition and technique.


Mark Waugh is Head of Innovation and Research at DACS. He is also Chair of Spacex in Exeter and Producer of the International Curators Forum. He has worked extensively in the UK and internationally as a cultural strategist, curator and commissioner of contemporary art. He is currently leading Art360, a major national project initiated by DACS Foundation and funded by Arts Council England, Art Fund, The National Archives and Henry Moore Foundation to develop legacy strategies for artists and their estates.

Sarah Whitfield is the editor of the William Scott Catalogue Raisonné (Thames & Hudson, 2013) and co-author of the René Magritte Catalogue Raisonné (Menil Foundation, Houston / Fonds Mercator, Brussels, 1993) and, since 2000, a member of the René Magritte Authentication Committee. She is on the Board of the Arshile Gorky Foundation and also a member of its authentication committee; she also serves on committees for Francis Bacon (whose catalogue raisonné, edited by Martin Harrison, was published earlier this year by HENI Publishing) and William Scott.


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