Dame Rosalind Savill DBE, FBA, FSA, became Director of the Wallace Collection, London, in 1992 and retired in 2011. She is a specialist in French eighteenth-century decorative arts, especially Sèvres porcelain, and her major publication, The Wallace Collection: Catalogue of Sèvres Porcelain, 3 vols, 1988, won her the National Art-Collection Fund prize for Scholarship in 1990. She has Visiting Professorships at the University of Buckingham and the University of the Arts, London. She won the European Woman of Achievement Award (Arts and Media) 2005, was a Member of the Conseil d’Administration at Sèvres Cité de la Céramique, is President of the French Porcelain Society, and her current Trusteeships include the Royal Collection Trust and the Samuel Courtauld Trust; she is also a Syndic of the Fitzwilliam Museum, Cambridge and on the Academic Committee of the Rothschild Foundation at Waddesdon Manor.
Tim Wilson retired as Keeper of Western Art at the Ashmolean Museum and Oxford University Professor of the Arts of the Renaissance in January 2017. He is a specialist in European Renaissance pottery and decorative arts. His book Maiolica: Italian Renaissance ceramics in The Metropolitan Museum of Art was published in 2016. Italian Maiolica and Europe, which is both a catalogue of the Ashmolean’s Italian pottery and a study of the diaspora of the tin-glaze tradition through Europe and beyond, will be published by the Ashmolean in spring or summer 2017.
Paul Crane began his working career in 1996 within the Ceramic Department at Phillips Auctioneers and joined The Brian Haughton Gallery in 2002. Paul is a specialist within the field of eighteenth century English porcelain and lectures widely on this subject and is a published Author of articles in this field. He is also a Trustee of The Museum of Royal Worcester.
Timothy Schroder is a curator and writer. He has spent most of his career focused on silver, at Christie’s, as a dealer, and in the museum sector in the United States and the UK. He is a trustee of the Wallace Collection and last year was Prime Warden of the Goldsmiths’ Company. His current area of research is the gold and silver of Henry VIII, which he hopes to publish in time for the 500 anniversary of the Field of Cloth of Gold in 2020.
Dr. Phil. Claudia Lehner-Jobst took her doctorate in history of culture and ideas at the University of Applied arts in Vienna with a thesis on Conrad von Sorgenthal and the Vienna porcelain manufactory in the neo-classical era. She is working for museums and private collections in the field of decorative arts and consulting, and has been the curator of several porcelain exhibitions at the Liechtenstein Museum in Vienna. She has been co-editor of “Fired by Passion” (2009). Her recent achievements include the permanent installation of the Strasser Collection of glass for the Kunsthistorisches Museum, Vienna, at Schloss Ambras, Innsbruck where she has also co-authored several exhibition catalogues and has curated the show “Wunderglas” (2016). In 2017, Claudia Lehner-Jobst will curate an exhibition on early 20th century Vienna porcelain at Porzellanikon Selb/Hohenberg, and has created a dessert table for Maria Theresia, with designer Sebastian Menschhorn, for the imperial dining room at Stift Klosterneuburg, where she has also researched court pilgrimage dining. She has been curator of the 300th birthday exhibition for Maria Theresia at the Porzellanmuseum im Augarten which will feature in a French documentary in autumn 2017. In 2018, she will participate in various celebrations of the 300th anniversary of Vienna porcelain with exhibitions in Austria and abroad.
Ivan Day is well known in the museum world for his recreations of period table settings. His work has been widely exhibited in Britain, the US and Europe. Recent installations have been the Edible Monument at the Getty Research Institute (2015) and Detroit Institute of Arts (2016). He also worked with Meredith Chilton on an English dessert table at the Gardiner Museum.
Kathryn Jones is Senior Curator of Decorative Arts for Royal Collection Trust, specialising in silver. She has curated an exhibition on State Banquets at Buckingham Palace and written on dining in the early Hanoverian court. She is currently engaged in writing a catalogue of European silver in the Royal Collection which is due to be published later this year.
Image: Royal Collection Trust / © HM Queen Elizabeth II 2017
Rebecca is an experienced Curator of Western Nineteenth-Century Ceramics & Glass and the Wedgwood Collection Liaison at the Victoria and Albert Museum. Following degrees in fine art, history of art, architecture and European history, Rebecca worked at the Wordsworth Trust, Museum of Science & Industry, British Museum and the Wallace Collection. She has published and lectured on a wide range of subjects including Wedgwood, Minton, European ceramics and glass, and the history of collecting. Rebecca is a Committee member of the Decorative Arts Society (UK).
Born in 1962, study of history, art history and archeology in Munich, Rome and Basel, 1993 PhD. on the Nymphenburg porcelain manufactory in the first half of the 19th century.
Since 1994 curator, since 2008 senior curator for ceramics at the Bayerisches Nationalmuseum, responsible also for the Meissen Porcelain Collection Ernst Schneider Bequest at Lustheim Castle. Special interest in table culture and other questions on court life.
Patricia F. Ferguson is currently Project Curator: Monument Trust, 18th Century Prints and Ceramics at The British Museum. She is the Adviser on Ceramics to the National Trust, and curated the recent display, 'Garnitures: Vase Sets from National Trust Houses', at the V&A and is the author of 'Ceramics: 400 years of British Collecting in 100 Masterpieces' (Philip Wilson Publishing, London, 2016).
Born in 1957 in Innsbruck, Austria
1979-1984 study of art history and ancient history in Innsbruck, Salzburg and Vienna
1984 PhD on the Schwazer Majolica manufactury in the era of Otto Hussl (1863 – 1919)
1985 – 1994 senior expert for Continental Ceramics, Sotheby’s London and Zurich
Since 1995 independent researcher, consultant of private collections and curator as well as author of collection catalogues and articles with special focus on Meissen porcelain
Nicole Coolidge Rousmaniere is IFAC Handa Curator of Japanese Art at the Department of Asia, British Museum. She is also the founding Director of the Sainsbury Institute for the Study of Japanese Arts and Cultures and Professor of Japanese Art and Culture at the University of East Anglia. She received her PhD from Harvard University in 1998. Her research interests include Jômon period to contemporary ceramics in East Asia and particularly Japan, East Asian trade networks, the history of archaeology and manga. She spent three years on secondment as a Visiting Professor in Cultural Resource Studies at Tokyo University (2006-2009). She is currently working on a book manuscript Four Hundred Years of Japanese Porcelain. In 2012 she wrote Vessels of Influence: China and the Birth of Porcelain in Medieval and Early Modern Japan (Bloomsbury Academic). In addition to her work at the British Museum from Summer 2011, she is the Research Director of the Sainsbury Institute.
Suzanne Lambooy is curator of applied arts for the Gemeentemuseum Den Haag since 2009, where she is currently preparing the exhibition Royal Blue. The Golden Age of Dutch Delftware (2018). In the period 2012-2016 she combined this position with curator of ceramics and glass at Royal Palace Het Loo in Apeldoorn. She previously worked as a specialist of European ceramics and glass for the Queen Juliana sale with Sotheby’s Amsterdam (2010-2011), as researcher of Dutch Delftware for Aronson Antiquairs in Amsterdam (2007-2010) and as a specialist on European ceramics and glass for Christie’s Amsterdam (2003-2007). She studied glass and ceramics conservation at the Netherlands Institute for Cultural Heritage (2003) and took a degree in art history at the University of Leiden, with a specialism in the graphic sources of Dutch delftware plaques (2009). Her MA dissertation in 2012 concerned French influences on late seventeenth-century Dutch delftware.