Events

‘New Thinking About the Catalogue Raisonné’

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ICRA's 6th Annual Conference at Mishcon de Reya on January 9th provided a wealth of new thinking on the catalogue raisonné. Panellists shared ideas from different cultures and viewpoints, including publishers, authors, curators, museum and artist foundation directors, as well as art lawyers and art market representatives.The environment was warm and collegial and the discussion challenged our accepted ideas, pushing us forward into the future.

It was also an excellent opportunity for colleagues to meet and exchange ideas during and in between panels, during lunch and drinks. Sharing expertise and knowledge with each other about cataloguing art is a key part of ICRA’s mission.

Today, the field of cataloguing artworks is rapidly expanding and changing. New models continue to appear, from the Wildenstein Plattner Institute’s “Digital Corpus” to the Holt-Smithson Foundation's “Atlas”—which aims to catalogue a husband-and-wife artist pair—to the Hans Arp “Critical Survey” and Sophie Tauber-Arp online “Oeuvre Catalogue,” to the Modigliani Initiative, we are witnessing a critical expansion beyond the term “catalogue raisonné” as well as a serious rethinking of its traditional and current approaches and uses. Reconsidering the role of the single independent expert on an artist, museums are now becoming involved and partnering in cataloguing oeuvres of artists (Rothko and Louise Bourgeois Works on Paper), and, in some cases, groups of museums are joining forces for this purpose, as in the Van Gogh Worldwide Resource. Digital scanning and 3-D copies of objects, such as those by Factum Foundation, offer an alternative approach to cataloguing and documenting art. Further, the digital turn to online catalogues has democratized information but at the same time has its own sets of risks regarding website technology and sustainability. And the traditional print catalogue raisonné, such as those published by Yale University Press and Art Publishing Inc., continue to have an enduring value and has lasted for centuries. Why are some contemporary archives, estates, and living artists rethinking the catalogue raisonné’s format and purpose? Why do so few women and non-binary artists have traditional catalogues? What can we learn from non-Western approaches, such as the Benin Digital Project or cataloguing of Native American art? What legal issues arise when we rethink the catalogue raisonné as a genre and topos, and how will this in turn affect the art market?

Among the speakers and panellists were:

Keynote: Digital Benin: Anne Luther + Godfrey Ekhator in discussion with Alex Morrison, COGAPP

Mark Eastment, Editorial Director: Art and Architecture. Yale University Press London.

Toby Treves, Founder, Art Publishing Inc., previously a collection's curator at Tate, co-author: Lucian Freud: Catalogue Raisonné of the Prints, 2022 and Peter Lanyon: Catalogue Raisonné of the Oil Paintings and Three-dimensional Objects, 2018, Lucian Freud: Catalogue Raisonné of the Oil Paintings, 2025.

Martin Postle, Senior Research Fellow, The Paul Mellon Centre for Studies in British Art, co-author: Sir Joshua Reynolds: A complete catalogue of his paintings, 2000 and upcoming Joseph Wright of Darby catalogue raisonné.

Susan J. Cooke, Art Historian, Research Editor, David Smith Sculpture: A Catalogue Raisonné, 1932–1965, 2021 and Editor, David Smith: Collected Writings, Lectures, and Interviews, 2018.

Lisa Le Feuvre, Executive Director of Holt/Smithson Foundation.

Adam Lowe, Director & Founder, Factum Arte & Factum Foundation

Arie Hartog, Director, Gerhard-Marcks-Haus and author: Hans Arp Sculpture: A Critical Survey and Sophie-Tauber Arp Oeuvre Catalogue/

Marin R. Sullivan, Director of Research and the Harry Bertoia Catalogue Raisonné, Harry Bertoia Foundation

Leslie Koot and Julia May Boddewyn, Founding Directors, Modigliani Initiative

Elizabeth Gorayeb, Executive Director, Wildenstein Plattner Institute, Tom Wesselman Digital Corpus, Gauguin, Monet and Renoir digital Catalogue raisonnés.

Huffa Frobes-Cross, Project Manager, Wildenstein Plattner Institute, Tom Wesselmann Digital Corpus & Florine Stettheimer Catalogue Raisonné.

Benno Tempel, General Director, Kröller Müller Museum, Partner Van Gogh Worldwide

Sebastiano Barassi, Head of Henry Moore Collection & Programmes

Frances Fowle, Emeritus Professor of Nineteenth-Century Art, University of Edinburgh, co-author (with Michael Clarke) of French Paintings 1500-1900 National Galleries of Scotland, 2022

Giovanna Bertazzoni, Chairman, Christie’s Europe
Amanda Grey, Art Lawyer, Partner, Mishcon de Reya

Simon Chadwick, Art Lawyer, Partner, Mishcon de Reya

Andrea Rose, Author, Leon Kossoff: Catalogue Raisonne of the Oil Paintings, 2021

With thanks to our sponsors Christie's, cogapp and Mishcon de Reya for their generous support.

The International Catalogue Raisonné Association (ICRA) and the Art Lawyers Association (ALA) are delighted to invite you to this joint online panel discussion on Wednesday 23rd October, 2024 at 16.00 BST

Join ICRA and a distinguished panel of art lawyers from the ALA to discuss authentications and catalogues raisonnés from a legal perspective, focusing on the question of: “to authenticate or not?"

 Many of our authors, artists, consultants, lawyers and estates have questions about this, and we had no time to get into the topic during the previous Spotlight. Many, as we know, are no longer authenticating and some lawyers are no longer advising authentication of artworks - why? What is at stake? Others still believe it is the only way. Is there a shift going on in the field of legal thinking about authentication? Are there landmark cases? Where does that leave catalogues raisonnés and their authors (including living artists preparing their own CR)?

You may register to attend the event by clicking here or find out more 

Building on the success of the 2023 ICRA Annual conference, ‘On Paper’, ICRA would like to invite you to join Sharon Hecker, Matthew Stephenson and ICRA Board members on a visit to the new home of Drawing Room in Bermondsey to see the Drawing Biennial on Thursday 27th June, 10.30 -11.30 at:

Drawing Room/Tannery Arts,

Unit 1b, New Tannery Way

Bermondsey

London, SE1 5WS

During the visit ICRA Board Chair Sharon Hecker will announce the theme of the next Annual Conference.

Please register here to join this visit https://visits.cheddarup.com

About Drawing Room

Drawing Room was founded by curators Mary Doyle, Kate Macfarlane and Katharine Stout in 2002 and is a non-profit public organisation that champions the unlimited potential of drawing to help us understand ourselves, each other and our world, through exhibitions, learning projects and a unique library. Kate and Mary will introduce the mission, space and exhibition. Our visit will last about an hour.

About the Drawing Biennial

Every two years the Drawing Biennial proves to be a highlight in Drawing Room’s programme – a critically acclaimed exhibition showcasing around 300 drawings from some of the most interesting artists working across the globe today. This year’s Biennial is a vibrant pulse-check of contemporary drawing in 2024, as well as a vital fundraiser that provides Drawing Room with funding for the next two years of activity, supporting artists and their community through championing drawing.

Highly established to emergent artists from around the globe are invited to make and donate an A4-size drawing on paper to the Biennial; these drawings are exhibited at the gallery for nine weeks before being auctioned online.

Drawing Biennial 2024 includes contributed works by Emii Alrai, Mamma Andersson, Frank Auerbach, Rana Begum,  Sonia Boyce, Gabriella Boyd, Muhanned Cader, Lubna Chowdhray, Emma Cousin, Andrew Cranston, Richard Deacon, Tacita Dean,  Ryan Gander, Antony  Gormley, Nick Goss, Jake Grewal, Mona Hatoum, Arturo Herrera, Lubaina Himid, Ali Kazim, Serena Korda, Paul Maheke, Anthony McCall, Lisa Milroy, Jade de Montserrat, Paul Noble, David Noonan, Julian Opie, Hardeep Pandhal, Cornelia Parker, Florence Peake, Anna Perach, Heather Phillipson, Cathie Pilkington, Paloma Proudfoot, Alicia Reyes McNamara, Amba Sayal-Bennett, Tai Shani, George Shaw, Raqib  Shaw, Bob & Roberta Smith, Olivia Sterling, Emma Talbot, Liorah Tchiprout, Caroline Walker and many more..org.uk

Exhibition dates, 3 May – 3 July.

https://alexnabaum.com/

Please register here to join this event.

20th June, 2024 at 16.00 GMT

The catalogue raisonné raises a host of fascinating legal issues. Join ICRA and a distinguished panel of art lawyers from the ALA to discuss these and more key questions: How are catalogue raisonnés used in the art market for legal transactions and litigations? What if there are discrepancies between experts, or between the catalogue raisonné and the heirs/foundation/owners of an artist's intellectual property? What if the expert changes? Is the catalogue raisonné a record of fact or opinion? Can it be objective? From an auction house perspective, is the fact that a work is in the catalogue raisonné or not the determining factor in deciding whether to offer a work for sale? Do auction houses offer works for sale that are not in a catalogue raisonné? What kinds of legal claims have been brought by dissatisfied artwork owners against a counterparty or an author? Are authors liable for negligence in different countries? How does the law ensure that authors exercise power responsibly and with integrity? Are there judicial procedures in different countries to resolve these claims? How do courts react to these claims? What kind of legal protection can catalogue raisonné authors have?

The session will be introduced by Dr Sharon Hecker, ICRA Chair and moderated by ICRA Board member Sarah Davis.

Panellists:

• Amanda Gray, Partner, Mishcon de Reya LLP, London

• Martin Wilson, Chief Legal Counsel/Head of Fiduciary Services, Phillips Auctioneers, London

• Steven Schindler, founding partner of Schindler Cohen & Hochman, New York

• Pierre Valentin, art lawyer and one of the founders of ICRA

Click here for more details about the panel.

Further to the ICRA December 2023 Annual Conference ‘On Paper’ and the presentation by Sewon Kang, archivist and cataloguer of Louise Bourgeois: The Complete Prints & Books, ICRA would like to invite members to join Sharon Hecker and Matthew Stephenson on a visit to the Easton Foundation and townhouse of Louise Bourgeois on 3rd May at 10.30am at 349 West 20th Street, New York.

Sewon will lead the visit, which usually lasts an hour. Due to the intimate nature of Bourgeois’s house, places are limited to ten people and offered on a first-come, first-served basis.

Please email info@icra.art to express an interest - we will be in touch with the first ten responders to let you know that you have a space on this exclusive visit.

Image: Louise Bourgeois in the backyard of her home, New York, 1980. Photo: Mark Setteducati, © The Easton Foundation/Licensed by VAGA at Artists Rights Society (ARS), New York

DESCRIPTION of THE EASTON FOUNDATION 

The Easton Foundation was established by Louise Bourgeois in the 1980s as a non-profit and charitable organization. Upon her death in 2010, at the age of 98, Bourgeois bequeathed her home and an adjacent townhouse to become the Foundation’s center.

For select visitors, the Foundation is pleased to present a comprehensive survey of photographs, exhibition announcements, and personal writings from Bourgeois’s life and career. These documents hint at the breadth and scope of the Louise Bourgeois Archive and provide unique insight to the artist’s creative process. A selection of Bourgeois’s artworks from the Foundation’s extensive collection will also be on display, and the backyard sculpture garden will be open, weather permitting. In addition, Louise Bourgeois’s home, where many works were conceived or made, will be accessible by guided tour.

Please note: Both townhouses are quite narrow and several stairs (some steep) will be involved; comfortable shoes are advised. Due to the buildings’ historic nature, we do not have wheelchair access to Louise’s house or to the upper floors of the Foundation, though the garden level exhibition space and sculpture garden are accessible. Photography is prohibited.

 http://www.theeastonfoundation.org/foundation

 Some guidelines for the visit, with a note on accessibility:

 - Large bags, purses, coats, etc. are not allowed as we tour through the space. We have a coat rack available to store these items and security in and around the building. Your group will be the only one on the premises during the tour.

 - Photography is strictly prohibited, and we request that cell phones are kept off during the tour.

 - There are several steep stairs involved during the tour (only the gallery has wheelchair access). We recommend comfortable shoes. Please let us know ASAP if you anticipate anyone on the tour to have issues with mobility or have any concerns in this regard.

Chrysanthi Koutsouraki, has kindly invited fellow ICRA members to the private preview of the artwork of Costas Tsoclis and her catalogue raisonné of his work. 

"Acclaimed artist Costas Tsoclis comes to London for the first time since 1975. Join him for an intimate journey through his contemporary art creations to the recent NFT innovations and beyond. Witness the fusion of artistry and digital exploration. Irini Mirena Papadimitriou, Creative Director at FutureEverything, will moderate a conversation and Q&A with Costas Tsoclis." 

The event is at 7:30pm on 21st March at the Hellenic Centre in Marylebone. 

More details on the Hellenic Centre website. 

“Biala: Paintings, 1946-1986” Private preview and walk through March 15th 2024

Dear ICRA members and friends,

If you are in New York, ICRA member Artist Estate Studio, founded by Jason Andrew, would like to invite you for a private preview and walk through of the exhibition “Biala: Paintings, 1946-1986”, followed by cocktails on

Friday, March 15, 6-8pm

At: Berry Campbell 

524 West 26th Street, NYC

RSVP: info@artistestatestudio.com

Image: Janice Biala (1903-2000) “The Studio,” 1946, 39 1/2 x 33 1/2 in (101.6 x 86.4 cm) © 2024 The Estate of Janice Biala / Licensed by VAGA at Artists Rights Society (ARS), NY / Courtesy Berry Campbell, New York. 

Since 2004, Artist Estate Studio (AES) has been managing the Estate of Janice Biala. Founding Partner (AES) Jason Andrew is an expert in the life and work of Janice Biala, curating and publishing extensively on the artist. For this special “after hours” visit Mr. Andrew will lead a tour of the exhibition, discussing the process and strategies of management, cataloguing, and the promotion of Biala’s work.

About Artist Estate Studio.

Existing in the space between the artist’s studio and the marketplace, Artist Estate Studio places the preservation of art and the promotion of its maker at the center. AES services the studios of artists and the estates of artists in the management, cataloguing, and promotion of their art and stewardship of their legacies.

www.artistestatestudio.com

About the artist: Biala.

One of the most inventive artists of the 20th Century, and the painter most closely aligned with the continuation of a transatlantic Modernist dialogue between Paris and New York, Janice Biala (1903-2000), led a legendary life: a painter recognized for her distinctive style that combined the sublime assimilation of the School of Paris and the gestural virtuosity of the New York School of Abstract Expressionism.

www.janicebiala.org

–––

Jason Andrew

Artist Estate Studio, LLC

+1 646.361.8512

www.artistestatestudio.com

Lorenzo di Credi, Study of Drapery for a Seated Figure (detail). Image courtesy Fondation Custodia, Collection Frits Lugt, Paris.

The International Catalogue Raisonné Association (ICRA) was pleased to host its Annual Conference, titled On Paper, at The Royal Academy London on 5 December 2023.

There is now a playlist in the ICRA YouTube channel containing videos from the conference sessions.

The day-long conference presented unique perspectives from leading professionals in the field on all aspects of paper - from cataloguing, curating and conservation, to materials, techniques and artists’ innovative use of paper across the centuries from Old Masters to present day. On Paper explored the questions and challenges posed by paper both as a support and medium.

Speakers included: Claudette Johnson, artist (Keynote Speaker); Susan Catcher, Senior Paper Conservator at the Victoria & Albert Museum, London; Rhea Blok, Curator at the Fondation Custodia, Paris; Adam Greenhalgh, Lead Author of the catalogue raisonné Mark Rothko: The Works on Paper and Associate Curator at the National Gallery of Art, Washington DC; and Fabienne Ruppen, Assistant Curator at the Department of Prints & Drawings, Kunstmuseum Basel.

Teresa Krasny, Chair of ICRA, said:

“We are delighted to have some of the most brilliant professionals in the field of works on paper bring their knowledge and experience to our audience. Our programme will not only explore cataloguing issues but will also engage with more philosophical thoughts around the hierarchy of paper within an artist’s oeuvre and what conservation may mean for its legacy. It promises to be a fascinating day of learning for all those interested in paper, both within the catalogue raisonné community and beyond. We are particularly honoured to have Claudette Johnson as our Keynote Speaker. Claudette, the subject of a major exhibition ‘Claudette Johnson: Presence’ at The Courtauld Gallery, London (29 Sept 2023-14 Jan 2024), works primarily on paper and will share with our audience key insights into her practice over the past three decades.

photo credit: Maureen M. Evans. Courtesy of the artist.

Christopher Le Brun is one of the leading British painters of his generation, celebrated internationally since the 1980s. Le Brun employs a mastery of touch and colour alongside a profound understanding of art history and a wide range of visual, musical and literary sources. A heightened awareness of the physicality of the painting process, with its dramatic tension between revealing and covering has been a central feature of his work that unites all its phases, whether abstract or figurative.

He was an instrumental public figure in his role as President of the Royal Academy of Arts in London from 2011 to 2019. He was awarded a Knighthood for services to the Arts in the 2021 New Year Honours. At the beginning of 2023, further two of his major pieces were added to institutional collections of Tate Gallery in London and the Museum of Contemporary Art & Urban Planning (MoCAUP) in Shenzhen.

During the studio visit members met with Christopher and learnt about his methods and practices as an artist as well as his experience as a public figure within the arts.

ICRA 2022 Conference

ICRA’s 2022 Annual Conference took place at Cromwell Place in London and online on Thursday 1 December from 9.30am (GMT) on the topic of Legacy: The Artist's View. 

This conference had a philosophical construct, placing the artists and their families at the centre of the conversation. The implications of how the catalogue raisonné continues to be perceived proved to be very meaningful.

The keynote speaker was Edmund de Waal with contributions from artists Dame Rachel Whiteread DBE and Sir Michael Craig-Martin CBE RA and Marina Abramovic. There were also conversations between the children of artists, Nick Willing (Paula Rego) and Ben Bowling (Sir Frank Bowling OBE RA), the grandchildren of artists, Saskia Spender (Arshile Gorky) and Daniel Hug (László Moholy-Nagy), as well as others whose work is to shape legacy, including museum curators and catalogue raisonné authors.

The conference was a hybrid event: held in the Lavery Studio at Cromwell Place in London, it was also filmed and streamed live to a global audience.

This event was generously sponsored by Christie's, Constantine Cannon LLP, Navigating.art, Phillips Fiduciary Services, and Sotheby's.

ICRA members were invited to a very special preview of the upcoming exhibition of work by American Colourist Milton Avery, at the Royal Academy of Arts in London. This exclusive event included a tour with the exhibition’s curator, and ICRA Board Member, Edith Devaney and provided ICRA members with a unique opportunity to see this exhibition before it opened to the public. Members also benefited from a personal explanation about the work involved in staging the exhibition as well as insights into the artworks.

From the Royal Academy website:

‘Worshipped by Abstract Expressionists Mark Rothko and Barnett Newman, Milton Avery expressed his vision of the world through harmonious colour and simplified forms. Now, for the first time, see the North American painter’s work this side of the Atlantic’.

Image:

Milton Avery, Little Fox River, 1942

Oil on canvas, 91.8 x 122.2 cm

Collection Neuberger Museum of Art, Purchase College, State University of New York. Gift of Roy R. Neuberger Photo: Allen Phillips/Wadsworth Atheneum

© 2022 Milton Avery Trust / Artists Rights Society (ARS), New York and DACS, London 2022 Exhibition organised by the Royal Academy of Arts, London in collaboration with The Modern Art Museum of Fort Worth and the Wadsworth Atheneum Museum of Art

The Church and Farm of Eragny, 1895 (oil on canvas), Pissarro, Camille (1830-1903) / Musee d'Orsay, Paris, France / Bridgeman Images

ICRA members were given the rare opportunity to tour the Pissarro Archives with a senior curator of European Art. The visit coincided with a major exhibition at the Museum which drew upon the Ashmolean's Pissarro archive, the world's largest collection devoted to an Impressionist artist. Members had the exciting opportunity to view the exhibition's 120 works, 80 by Pissarro and 40 by his friends and contemporaries, as well as eight paintings on display for the first time in the UK. (https://www.ashmolean.org/pissarro).

Image: The Church and Farm of Eragny, 1895 (oil on canvas), Pissarro, Camille (1830-1903) / Musee d'Orsay, Paris, France / Bridgeman Images

ICRA’s 2021 conference, entitled ‘Sculpture and the Catalogue Raisonné from Antiquity to NFTs’ aimed to highlight the host of fascinating challenges for those tasked with documenting, cataloguing, and archiving sculpture. The conference was held entirely online on Wednesday 1 December and Thursday 2 December 2021, was curated by Dr Sharon Hecker, and offered a wide range of presentations, case-studies and panel discussions offered by leading international scholars, market professionals, and legal experts who have experience with sculpture from different epochs and in diverse art-related fields.

Programme and Speakers: 

DAY ONE – Wednesday 1 December 2021

Session 1: Cataloguing Renaissance Sculpture 

This panel discussed the challenges of cataloguing Renaissance sculpture and the implications for art history, museums, and the market. 

Panellists: David Ekserdjian, Andrew Butterfield, Philippe Malgouyres

Session 2: To Include or Exclude? 

This session tackled one of the most basic and difficult questions when compiling a catalogue raisonné of sculpture: how to decide what objects, images and information to include or exclude, and what are the implications of such tough decisions.

Panellists: Alexandra Keiser, Susan Cooke, Chris Stephens, Eleanor Nairne, Barry Rosen

Session 3: Restoring, Conserving, Replicating, Fabricating

Scholars and art professionals discussed what material, art historical, museum, market and legal issues are at stake when a sculpture is damaged and requires restoration or conservation, and how much information should be given in catalogue raisonnés.

Panellists: Amélie Simier, Martha Buskirk, Peter Karol, Derek Pullen

Session 4: Labelling and Terminology

This panel presented innovative thinking and new tools for making sculpture terminology understandable and accessible to those cataloguing sculpture of all periods.

Panellists: Malcolm Baker, Marin Sullivan, David Bourgarit, Francesca Bewer, Jane Bassett

Fireside Chat: Jan Dalley, FT editor, in conversation with Madeleine Bessborough, Founder of The New Art Centre London and Roche Court Sculpture Garden.

DAY TWO – Wednesday 2 December 2021

Session 1: Lifetime and Posthumous 

This panel took up the topic of cataloguing sculpture, an inherently reproducible medium, from different viewpoints and varied approaches, through complex case studies such as Boccioni and Arp.

Panellists: Penelope Curtis, Rosalind McKever, Arie Hartog, Guy Rub

Session 2: 2D for 3D – Print, Digital, Audio: Different Media for Sculpture Catalogue Raisonné

What are the advantages and disadvantages of print versus digital catalogue raisonnés for sculpture? Do other tools exist?

Panellists: Toby Treves, Alex Ross, Brad Epley, Ann Gallagher

Session 3: Dematerialisation: the Catalogue Raisonné and the Evolving Definition of Sculpture 

Contemporary sculpture, which often involves dematerialisation, presents a host of new challenges for cataloguers as well as living artists in the digital age. Three speakers addressed this question from different angles.

Panellists: Lisa Le Feuvre, Jennifer Gross, Deafbeef

Session 4: Preparing for the Future

This panel presented a case study of the Estate of Czech Sculptor, Daniela Vinopalová. Speakers discussed what tools and practices are best for when an artist or heirs prepare their future legacy, and how innovative digital approaches can be involved.

Panellists: Sharon Hecker, Matthew Stephenson, Jan Marek and Daniela Markova, Pierre Valentin followed by 

Andrew Lacey, Artist, Archaeometallurgist and Independent Scholar, in conversation with Adam Lowe, Director of Factum Arte.

The conference is sponsored by:

ICRA was delighted to host a webinar with Jayne Warman, co-author of the Cezanne digital catalogue raisonné, entitled ‘Seeing Cezanne’.

The Cezanne online catalogue raisonné, under the direction of Walter Feilchenfeldt, Jayne Warman and David Nash, capitalizes on the versatility of modern-day technology and takes Cezanne research in a new direction. In addition to establishing the authenticity of Cezanne’s pictures, the interactive catalogue provides the researcher a means of studying the works of this influential artist from differing perspectives.

Jayne Warman presented a brief history of the Cezanne catalogue raisonné, demonstrated some of the features of the online edition and outlined some of the challenges faced by her colleagues and the future of their project.

Image: Cezanne seated before the Large Bathers (Barnes Foundation, Philadelphia, PA). Photograph by Emile Bernard, 1904.

Image: Paul Gauguin, La Sieste, c. 1892–94

On Tuesday 25 May, ICRA, together with the Wildenstein Plattner Institute, Inc. and Navigating.art, hosted a webinar entitled ‘Building the Gauguin Catalogue Raisonné: A Digital Publication’. 

Session 1: The first session was centred on the issues and obstacles that have arisen during the researching, writing and publishing online of the new volume of the Gauguin catalogue raisonné. WPI's Caitlin Sweeney and Elizabeth Gorayeb discussed the project while showcasing the new digital publication. The presentation was followed by a Q&A, featuring Sylvie Crussard, Gauguin scholar and consultant to the WPI.

Session 2: The technical innovations of the digital Gauguin catalogue raisonné were addressed by Nicolai Bohn and Martin Lorenz of Navigating.art, the developers of this software. Navigating.art is a ‘Software-as-a-Service’ provider that offers a new experience for digitizing, publishing, and exploring art. Together, they introduced their software and toured the web features they designed and built for their users.

Image: Paul Gauguin, La Sieste, c. 1892–94

ICRA’s Annual Conference took place on Thursday 3 December 2020 in partnership with The Art Newspaper and sponsored by Lund Humphries. Staged entirely online, the conference included presentations and case-studies by leading scholars, experts and art market professionals from around the world.

Programme and Speakers 

Session 1: A How-to Guide to Research Tools and Practices 

Panellists: Richard Aronowitz-Mercer, Dr Eileen Costello and Martin Kemp

Session 2: Provenance and Forgeries Case study (The Beltracchi Affair) 

Thomas Seydoux

Session 3: Restitution: Research Questions and Perspectives

Panellists: MaryKate Cleary and Isabel von Klitzing

Session 4: Provenance and the Law 

Panellists: Amelia Brankov, Olivier de Baecque, Nicholas Maclean, Pierre Valentin, Martin Wilson

Spotlight session: Provenance and the Collector: A Conversation with Christian Levett

Session 5: Artists’ Estates and Archives and their Approach to Provenance 

Panellists: Stephanie Camu, Susan J. Cooke, Martin Harrison

Session 6: Provenance in Museums

Panellists: Susanna Avery-Quash, Victoria Reed, Iris Schmeisser

Session 7: The Future of Provenance and the Catalogue Raisonné

Panellists: Elizabeth Gorayeb, David Newbury, Prof Dr Lynn Rother

ICRA is grateful to the following for their generous sponsorship and support of the event:

Lund Humphries, The Art Newspaper, The Estelle Trust and Artlyst.

ICRA members were invited to attend a very special event in London, kindly hosted by Art Analysis and Research.

The event included a presentation by Dr. Jilleen Nadolny and Dehlia Barman, followed by a tour. Together they explained how they can help clients increase the value of their artworks and decrease the risk of buying forgeries, as well as how their approaches can be integrated to support the development of a catalogue raisonné.

ICRA's first conference offered a full day of presentations and panel discussions on various topics relevant to the catalogue raisonné. Over 100 delegates from a broad cross-section of art market businesses attended: independent scholars, exhibition curators, managers of artists' estates, publishers and book sellers, a contemporary artist as well as authors of catalogue raisonnés.

The Programme:

Introduction: Pierre Valentin, Chair of ICRA

Presentation I: All the Rembrandts of the World: Towards a History of the Catalogue Raisonné

Dr Antoinette Friedenthal

Panel I: What Makes a Good Catalogue Raisonné

Authors and editors of catalogues raisonnés discussed the logistics, framework, methodology, financing, relationship with the artist and/or artist estate and publishing approach.

Moderator: Georgina Adam

Panellists: Flavie Durand-Ruel, Dr Sharon Hecker, Valérie Didier Hess, Toby Treves, Sarah Whitfield

Panel II: Establishing and Maintaining a Legacy

This session looked at the positives and negatives of foundations/archives, how to run an archive and how to handle the authentication process.

Moderator: Anna Somers Cocks OBE

Panellists: Rana Begum, Elizabeth Gorayeb, Saskia Spender

Presentation II: The Risks Involved in Writing a Catalogue Raisonné, and how Authors can Protect Themselves

Pierre Valentin

Panel III: Who Uses the Catalogue Raisonné?

This panel discussed the end user of the catalogue raisonné and how to take into consideration their needs.

Moderator: Toby Treves

Panellists: Giovanna Bertazzoni, Thomas Heneage, Lucy Myers, Prof Richard Thomson, Dr Barnaby Wright

The ICRA Board would like to thank Christie’s Education for their generous support which has made this event possible.

The Academicians’ Room at the Royal Academy was full and buzzing with enthusiasm at the launch of ICRA on Monday 1 July. There was a broad cross-section of people in attendance, many of whom had travelled considerable distances to find out more about the association, its aims and objectives. Board members, Pierre Valentin and Toby Treves addressed the room and were joined by guest speaker Sir Nicholas Serota who gave an excellent speech in support of ICRA stating that its formation was an important and timely venture.