- Drive the strategy for the Restitution Department Globally, managing the team.
- Oversee and direct workflow of Sotheby’s Global Restitution department’s research to prevent stolen objects from circulating in the art market and, in particular, resolving provenance issues of any item with ownership claims from the Nazi-era.
- Collaborate with business getters and cataloguers in each affected expert department to vet and research artworks being appraised, prospected or sold.
- Provide guidance and training to art specialists and other colleagues at Sotheby’s on policies surrounding stolen art and objects with Nazi-era provenance.
- Represent Sotheby’s and Sotheby’s Restitution as an ambassador at events including lectures and conferences globally.
- Organize Sotheby’s hosted events and educational seminars focusing on the nuances and scholarship in this area.
- Develop and maintain relationships with relevant lawyers, researchers and government bodies in the restitution field.
- Generate incremental business through research and contacts, specifically lawyers, heirs, museums and researchers.
- Publish articles in relevant magazines and be a recognised expert in the field.
- Work directly with clients and their advisors to navigate and resolve claims.
- Facilitate settlements between consignors and claimants and lead any sale claims management.
- Partner with colleagues to oversee compliance around source of funds.
- Act as a member of the Sotheby’s Ethics Committee.

Watteau’s Pierrot, formerly known as Gilles, is one of the most famous masterpieces in the Louvre’s collection. This enigmatic work, which has long raised questions for art historians, is currently undergoing conservation treatment at the Centre for Research and Restoration of the Museums of France, after which time it will be the focus of a spotlight exhibition.

Nothing is known about the painting before it was discovered by the artist and collector Dominique Vivant Denon (1747–1825), Director of the Louvre under Napoleon. It soon came to be regarded as a Watteau masterpiece and garnered praise from renowned writers and art historians. It has often been seen as reflecting a certain image of the 18th century – mischievous, cynical or melancholy, depending on the author and the era. Its fame boosted the return to favour of 18th-century art in the age of Manet and Nadar.

The exhibition will present the findings of the conservation project. It will approach this wholly original work – whose attribution to Watteau has sometimes been questioned – both as part of the artist’s oeuvre and in the cultural and artistic context of the time. Alongside many other paintings and drawings by Watteau, there will be works by his contemporaries – painters, draughtsmen, engravers (Claude Gillot, Antoine Joseph Pater, Nicolas Lancret, Jean Baptiste Oudry, Jean Honoré Fragonard, etc.) and writers (Pierre de Marivaux, Alain-René Lesage, Jean-François Regnard, Evaristo Gherardi), with special emphasis on the rich theatrical repertoire of the time.

The next Paul Mellon Director will have a unique opportunity to strategically lead the YCBA as it approaches its fiftieth anniversary in 2027. Currently, the YCBA is closed for conservation, focusing on exterior improvements, including the replacement of the museum’s roof and skylights, as well as significant upgrades to the gallery lighting system. Slated to open in spring 2025, the Paul Mellon Director will play a significant role in a reconceived installation of its collection. 

An inspirational leader and seasoned manager, the Paul Mellon Director is responsible for the artistic vision and fiscal management of the institution and will inspire, support, and develop the staff. The next Paul Mellon Director will champion the Center’s dual identities as both a museum and a center for research and teaching and continue to promote understanding and appreciation of British Art worldwide. Recognizing that the YCBA is nested within a university, they will partner and connect with all constituents, including faculty, staff, and students, across the Yale ecosystem. Located in New Haven, CT, the YCBA has a deep commitment to its surrounding community as a core audience and fulfills this commitment through a range of partnerships. 

The Grange Gallery is pleased to announce the first exhibition of paintings by the artist Mabel Pryde Nicholson (1871–1918) in more than 100 years.

Her story has been overshadowed by the artistic successes of the men in her family: she was the first wife of the Edwardian society portraitist and still life virtuoso William Nicholson, the mother of abstract pioneer Ben Nicholson and modern architect Kit Nicholson, and the sister of the Scottish artist James Pryde.

Running 20 July – 26 August, ‘Prydie: the life and art of Mabel Pryde Nicholson’ brings together more than 30 objects from private collections and public institutions including the Tate, Pallant House Gallery and the Scottish National Gallery. The exhibition also features letters, photographs and personal objects, almost all of which have never been on public display and will coincide with the publication of the first biography of Mabel Pryde Nicholson by Lucy Davies.

Heemskerck’s pen-and-ink work Jonah Cast Out of the Whale onto the Shore of Nineveh (1566) depicts the climactic episode of the biblical story of Jonah, when the prophet was swallowed by a fish and regurgitated three days later. The figures of Jonah, suspended in mid-air, and of God the Father, in the clouds above, recall types by artists such as Michelangelo, whose work Heemskerck studied in Rome. 

Jonah Cast Out of the Whale onto the Shore of Nineveh is the preparatory design for one of a four-part print series on the biblical book of Jonah, all of which were engraved by Philips Galle with text added by Hadrianus Junius. The three other drawings for the series are in museum collections in Boston and in the UK in Oxford and Cambridge. The first drawing by Maarten van Heemskerck to enter the CMA’s collection, its provenance includes the 17th-century architectural painter Pieter Saenredam and most recently the Einar Perman collection, Stockholm.

o   Executing due diligence checks on consigned property; including cross-referencing databases, maintaining record, checking archives and library work
o   Supporting and executing in-depth research into collectors, collections and objects to support future sales and claims discussions, as needed and directed
o   Researching and inputting into restitution databases; maintaining integrity of information
o   Assisting in preparation of client facing materials, management reports as directed
o   Maintaining departmental library and materials
o   Contributing to training programs

Albrecht Dürer’s Material Renaissance explores how printmaking forged novel, engaging and creative ways of living, knowing and making the world. The exhibition brings to life the intense focus on materiality generated by one of the most innovative Renaissance artists, Albrecht Dürer – and also the material world of one of the most influential cities of the Renaissance: Nuremberg. Though a detailed examination of Renaissance Nuremberg’s artistic and print culture, the exhibition will explore themes including music and dance, weaponry and conflict, fashion, bodies and social relations, religious piety and persecution, and daily life in Renaissance households. Drawing on the University of Melbourne's remarkable collection of early modern prints and books, exhibits will feature some of Dürer’s most famous prints, including Melencolia I, and other treasures including the Nuremberg Chronicle and a leaf from the Gutenberg Bible.

These 150 paintings, prints, drawings, costumes, accessories, sculptures, photographs and furniture items from the Rijksmuseum collection show that gender is everywhere. See the 17th-century portraits in which all the children are wearing dresses. Discover how, in the 18th century, anybody who could afford it was wearing pink – as well as glitter, frills and floral patterns. Displayed together, these objects show that our ideas about masculinity, femininity and gender in its broadest sense are defined by their time and place.

Includes artworks by Gesina ter Borch, Marlene Dumas, Bartholomeus van der Helst, Kinke Kooi, Robert Mapplethorpe, Erwin Olaf, Maria Roosen, Charley Toorop and Sara Troost.

Depicted in hunting, portraiture or combat, animals feature among the most striking images produced by Jean-Baptiste Oudry. A gifted artist with an unrivalled mastery of his technique, he brings us face-to-face with the animal repertoire as it existed in the 18th century, including in a series of three hunting scenes he painted for the Château de Chantilly, scattered to the four winds after the French Revolution but exceptionally brought together for this show.

Animal scenes were extremely popular with the leading collectors in the 18th century, including the princes of Condé, who commissioned them from the artist. A set of exquisite drawings by Oudry loaned from a private collection will feature in this exhibition alongside works from Chantilly’s collections, allowing visitors to see pieces never displayed in public before. These include a large number of illustrations for La Fontaine’s fables, showing how the fabulist and the artist use the animal kingdom to help us laugh at and reflect on human nature. These illustrations were so effective they were copied by the arts and crafts industry and included in their decorative production, examples of which can also be admired in the exhibition. Through paintings, drawings, objets d’art and rare books, this show shines a light into every corner of the OUDRYMANIA that has gripped art lovers for centuries.