0012ic_Sotheby's Brochure_2006 LONDON V1.indd

2007/08 

MA DEGREES AND POSTGRADUATE DIPLOMAS/GRADUATE CERTIFICATES 

ONE–SEMESTER AND STUDY ABROAD PROGRAMMES 

SUMMER STUDY IN LONDON 

BA (HONS) IN ART, DESIGN AND BUSINESS 

PHDs 

your pathway to a career in the international art world 

ART BUSINESS | FINE AND DECORATIVE ART | CONTEMPORARY ART | PHOTOGRAPHY 

EAST ASIAN ART | CONTEMPORARY DESIGN 

SOTHEBY’S INSTITUTE OF ART IS A DIVISION OF CAMBRIDGE INFORMATION GROUP

SOTHEBY’S INSTITUTE OF ART | 2007/08 

Welcome 

For thirty-seven years Sotheby’s Institute of Art 

has been preparing students for careers in the 

international art world. 

01 

Sotheby’s Institute of Art – London 

Sotheby’s Institute of Art – New York 

Today, Sotheby’s Institute of Art comprises 

academic centres in London, New York and 

Singapore. This international focus reflects 

our commitment to education which utilises 

the resources of important art centres 

worldwide. Our degrees are awarded by the 

University of Manchester (UK) and combine 

professional training with academic study. In 

London, we offer six MA programmes and an 

undergraduate BA (Honours) programme; a 

number of specialist one-semester and year 

abroad programmes as well as five onemonth 

summer study programmes. In New 

York, we offer three MA programmes in Art 

Business, Contemporary Art and American 

Fine and Decorative Art. Our Singapore 

campus offers two programmes in Art 

Business and Contemporary Art. 

PATHWAY TO A CAREER IN THE 

INTERNATIONAL ART WORLD 

Students at the Institute learn by studying, 

observing and handling original objects, 

whether they are vases, paintings, chairs, 

sculptures or photographs. This close 

connection to the physical object leads to 

a deeper knowledge and understanding 

of the art work, an understanding which is 

enhanced by consulting books, archives, and 

other research materials. 

with the skills and knowledge to achieve 

professional success. 

The Institute has over 5,000 alumni 

worldwide, many of whom direct galleries, 

work in museums, foundations and auction 

houses, or pursue careers in art journalism, 

consulting and related professions. 

ACADEMIC CENTRES AROUND 

THE WORLD 

As one of the world’s leading art and 

business communities, New York is a prime 

location for Sotheby's Institute of Art. The 

Institute is housed in Sotheby’s auction 

house in Manhattan and is within easy reach 

of the city’s leading galleries and museums. 

In Singapore, the Institute is located within a 

new state-of-the-art city campus at LASALLE- 

SIA College of the Arts, one of the region’s 

leading art education establishments, and is 

set to play a significant role in establishing 

Singapore as a cultural centre in the Asia- 

Pacific Rim. 

Our location in London is in the heart of 

Bloomsbury, only minutes away from the 

British Museum and within walking distance 

of the National Gallery and Sotheby’s auction 

house, as well as the University of London. 

WELCOME 

Sotheby’s Institute of Art – Singapore 

Today, professionalism means more than 

being able to identify a Ming vase or a 

quattrocento painting. The ability to create 

a marketing strategy, construct a budget, 

install an exhibition, or identify copyright 

infringements, as well as research and 

publish an article, prepare and deliver a 

public lecture or produce a professional 

catalogue entry, are highly valued skills. The 

acquisition of practical knowledge such as 

this, coupled with academic requirements, 

form the basis of the unique learning 

experience at Sotheby’s Institute of Art. 

At each location, Sotheby’s auction house 

provides students with privileged access 

to pre-sale viewings, talks by experts and 

handling sessions. In addition, students 

visit the many commercial galleries, artists’ 

studios and museums that make these cities 

such unique and vibrant places to study art. 

Dr James McCalman 

Managing Director 

Sotheby's Institute of Art 

Our faculty includes scholars and renowned 

practitioners in various fields of the art world 

and experts from Sotheby’s auction house as 

well as guest lecturers, including restorers, 

critics and curators, writers and artists, 

publishers, art historians and consultants. 

Together they are committed to providing 

each student at Sotheby’s Institute of Art


The Sotheby’s Institute of Art Experience 

02 

THE EXPERIENCE 

BUSINESS TRAINING FOR 

CAREERS IN THE ART WORLD 

All of our programmes are 

designed to prepare students for 

a career in the international art 

world. The Institute also works 

with students to help them find 

internships at Sotheby’s auction 

house or in galleries and art 

institutions. Study programmes 

and internships give invaluable 

experience and lead to professional 

contacts. 

Whatever your career aspirations, 

we can help guide you. Many 

of our alumni are working in 

positions all over the world as 

gallery assistants, gallery owners, 

curators and dealers or are 

working in art-related positions 

in art insurance, consulting, 

publishing or arts marketing and 

administration. 

A UNIQUE APPROACH 

TO LEARNING 

Students learn through actual firsthand 

examination of works of art in 

the galleries, museums and private 

collections of London, New York 

and Singapore. This object-based 

approach is the cornerstone of our 

teaching, whether at postgraduate 

or undergraduate level and has 

been a distinguishing feature of 

Sotheby’s Institute of Art for almost 

forty years. 

FACULTY COMPRISES NOTED 

SCHOLARS AND PRACTITIONERS 

IN THE ART WORLD 

Programmes are taught by some of 

the most knowledgeable and highly 

respected scholars in the field 

of art. The combination of expert 

faculty, visiting tutors and specialist 

lecturers provides students with 

a wide breadth of knowledge 

and experience as well as an 

opportunity to develop a network of 

professional relationships. 

INTERNSHIPS AT SOTHEBY’S 

Sotheby's internships offer the 

opportunity to gain a better 

understanding of how an auction 

house works, how art is managed 

in a commercial environment 

and how Sotheby's business fits 

together. 

All full-time students at Sotheby's 

Institute of Art are eligible to apply. 

For MA students, internships are 

offered at the end of the second 

semester, ideally for three months. 

There are a limited number of 

internships reserved for MA 

students only and admission is 

highly selective. Internships are 

unpaid. 

INDIVIDUAL ATTENTION 

Faculty members are available 

to provide guidance on both 

academic and career-related 

subjects. Teaching styles facilitate 

a close working relationship 

with the student based on the 

academic tutorial system. Visit 

and seminar groups are divided 

into smaller numbers.


03 

THE EXPERIENCE 

“The MA programme 

for Fine and Decorative Art 

is really quite the finest 

available. Unlike the more 

traditional art studies it has 

a more intense practical 

approach – much needed 

in understanding art. My 

dissertation research was 

supported by an active 

internship experience in 

the Chinese department at 

Sotheby’s auction house, 

and blended with everyday 

exposure to London art life. 

Such a combination has 

quickly proved invaluable 

to me, resulting in exciting 

further academic studies 

and an important position 

with the largest international 

database of looted and stolen 

art. Everything I learned on 

the programme – I put into 

everyday use. 

” 

Jacob Khokhlov, MA FINE & DECORATIVE ART, 2005 

PhD Student, The Queen’s College, Oxford 

Consultant, Swift-Find Limited, London 

TRAVEL TO EUROPEAN, 

AMERICAN, AND ASIAN ART 

CENTRES 

Many of the Institute’s 

postgraduate programmes 

include travel to major art fairs, 

exhibitions, museums and 

collections in Europe, the United 

States, and Asia. 

Certain courses also incorporate 

further visits abroad to Asia and 

across the Continental United 

States. This allows students to see 

and experience art and objects 

in their historical context as well 

as adding regional knowledge to 

particular areas of study. The cost 

of travel, lodging and all museum 

admissions are included in the 

tuition fees. 

THE UNIVERSITY OF 

MANCHESTER 

The University of Manchester 

is the validating agency for all 

postgraduate and undergraduate 

degrees offered by Sotheby’s 

Institute of Art. 

The University is one of the most 

prestigious universities in the UK. 

Its Department of Art History in 

the School of Arts, Histories and 

Cultures is also one of the largest 

departments of its kind in the UK. 

www.sothebysinstitute.com


In London, we offer six MA programmes as well as an 

undergraduate BA (Hons) programme. A number of specialist 

one-semester and year abroad programmes also take place in 

London as well as five one-month summer study programmes. 

In New York, the Institute offers three full-time MA programmes 

in Art Business, Contemporary Art and American Fine and 

Decorative Art. Our Singapore campus offers two full-time 

programmes in Art Business and Contemporary Art. 

04 

OUR PROGRAMMES 

“The Master’s in Art 

Business gave me the 

knowledge, skills and 

focus to move from the 

legal profession to the 

international art market. 

A key element of the 

programme was my 

exposure to leading art 

market professionals and 

an international group 

of peers, which have 

provided me with a truly 

invaluable network. 

” 

Josh Pullan, MA ART BUSINESS 2005 

Graduate Trainee, Sotheby’s London 

POSTGRADUATE DIPLOMA (PG Dip)/ 

GRADUATE CERTIFICATE 

Requires two semesters of fulltime 

study in a particular area of 

specialisation. This option is for students 

who do not wish to write a dissertation. 

MASTER OF ARTS (MA) 

Requires the successful completion 

of two semesters of study (Postgraduate 

Diploma/Graduate Certificate), plus a 

research dissertation (Master’s thesis). 

Completion of the dissertation will take 

one additional semester of independent 

study with appropriate supervision by 

the Institute’s faculty. 

ONE-SEMESTER PROGRAMMES 

These courses do not require any 

previous knowledge or formal 

qualifications. There are seven 15-week 

semester programmes, some of which 

can be taken on a part-time basis, 

which run at different times during 

the academic year. They can also 

provide the necessary foundation for 

students applying to the Postgraduate 

Diploma / Graduate Certificate and 

MA programmes who do not have an 

art history background. In the US the 

semester programmes are credit-rated 

through the Corcoran College of Art & 

Design. 

SUMMER STUDY PROGRAMMES 

These five four-week programmes do 

not require any previous knowledge or 

formal qualifications. They are excellent 

overview courses for students who 

would like to gain an understanding 

of the programme’s subject area, 

possibly before embarking on further 

study, or as part of a professional career 

change. Each programme can also be 

taken as part of an undergraduate or 

postgraduate degree and is awarded 

six US credits through The Corcoran 

College of Art & Design. 

DOCTOR OF PHILOSOPHY (PhD) 

Offered jointly with the University of 

Manchester and can be completed 

in three years of full-time study. The 

PhD requires a substantial academic 

dissertation based on the student’s 

original research. 

BA (HONS) DEGREE IN ART, DESIGN 

AND BUSINESS 

Taught over 6 semesters (3 years) but 

with the option of acquiring a Certificate 

of Higher Education (120 credits) or 

a Diploma of Higher Education (240 

credits) after Year I or Year II respectively. 

Students may follow the BA programme 

on a full time or part-time basis.

London 

Programmes 

05 

ART BUSINESS 

MASTER’S DEGREE; POSTGRADUATE DIPLOMA 

London is at the centre of the global art and antiques market, 

where dealers trade in American, Asian and Indian art 

alongside British and European. This is a $30 billion plus 

industry, employing hundreds of thousands of professionals 

in small and medium-sized businesses as well as in a number 

of large enterprises, including auction houses, galleries 

and banks. 

The London MA in Art Business aims to prepare students for 

careers in the commercial art world. The programme is not a 

business degree but a degree in the business side of art. It is 

designed for students with an art historical background who 

want to understand business theories and practice, as well as 

the technical and structural elements of the art market. 

Europe is home to a number of other significant centres for 

the art market, offering valuable comparisons with the London 

scene. Recent study trips have included the Maastricht 

TEFAF Art Fair; Art Basel; and the FIAC Contemporary Art Fair 

in Paris. 

FINE & DECORATIVE ART 


The MA in Fine and Decorative Art is taught from the point 

of view of an art expert, rather than an academic art historian, 

in order to prepare students for a variety of careers in the art 

world. It is based on Sotheby’s original curriculum, The Works 

of Art Course; the approach is object-based and often 

object-specific. 

The programme concentrates on Old Master paintings, 

modern art, furniture and ceramics. It teaches 

connoisseurship, a skill rarely featured in other academic 

programmes, using the wealth of art objects available for 

first hand study at Sotheby’s auction house, in London’s 

museums and in public and private collections. This visual 

and hands-on approach, supported by a thorough grounding 

in the materials, techniques and physical properties of art 

objects, forms a foundation for object-based research and the 

development of professional skills of documenting, presenting 

and cataloguing works of art. Other areas taught include art 

collecting and the historical art market. 

LONDON PROGRAMMES 

SEMESTER 1 

4 September – 14 December, 2007 

Art markets 

Business planning & financial analysis 

Research methodologies 

Art marketing 

SEMESTER 2 

21 January – 13 June, 2008 

Art law 

Ethics & the art market 

Interdisciplinary group project 

Options: Students elect 2 from the 

following 4 options: 

Art valuation, investment and insurance 

Art, the state and the market 

Art as an alternative asset class 

Emerging art markets 

SEMESTER 3 

16 June – 31 October, 2008 

Dissertation (MA only) 

Students prepare and propose dissertation 

topics during Semester Three under the 

guidance of their tutor. 

FACULTY 

Iain Robertson, Head of Art 

Business Studies 

David Bellingham, Programme Director 

Henry Lydiate 

Catherine Morel 

TOTAL PROGRAMME FEES 

For up-to-date fees, please refer to our 

website. 

The cost of travel, lodging and all museum 

admission arranged as part of the 

programme is included in the tuition fees. 

SEMESTER 1 


Old Master paintings and connoisseurship 

Modern art and collecting 

Ceramics and trade 

Furniture and interiors 

Cataloguing and professional practice 

Techniques and materials 

The historical art market 

Country house studies 

SEMESTER 2 


Subject areas as above. 

SEMESTER 3 

16 June – 14 November, 2008 





FACULTY 

Megan Aldrich, Academic Director 

Chantal Brotherton-Ratcliffe, Programme 

Director 

Gordon Lang 

Noël Riley 

Bernard Vere 

TOTAL PROGRAMME FEES: 


website. 






London Programmes 

06 


CONTEMPORARY ART 

MASTER’S DEGREE; POSTGRADUATE DIPLOMA; CERTIFICATE 

This programme is for those who wish to study contemporary 

art in-depth, with a view to working in commercial galleries or 

public museums, opening their own galleries or working as 

curators, editors or critics. The course emphasises the artwork 

itself and how we approach and interpret contemporary 

art. Analysis of paintings, sculpture, installations, video, art, 

performance, and conceptual works form a regular part of 

the curriculum, alongside regular tutor-accompanied visits to 

London’s museums and galleries. 

In Semester One an intensive series of lectures by faculty and 

international guest speakers covers the development of art 

on both sides of the Atlantic from the 1960s to the present 

day. An extended study trip to Germany takes in the Cologne 

art fair and museums and galleries in the surrounding area. 

Towards the end of Semester One, and using a London-based 

commercial or public gallery as a model, students propose an 

exhibition project of their choice to curate and manage. 

Semester Two focuses on the art network and the relationship 

of criticism, theory and literature to contemporary art. A 

series of options comprise Art and Business, Contemporary 

Photography, and East Asian Arts respectively. Extended study 

trips to the contemporary art museums and collections in 

the Netherlands and Germany are also included. Throughout 

the programme students develop and discuss their ideas 

in one-on-one tutorials which are a distinctive aspect of the 

programme. 

© DACS 2006 

PHOTOGRAPHY: HISTORIC & CONTEMPORARY 


This programme is aimed at those who wish to study in-depth 

the place of the photograph in the art world and to pursue a 

career as a specialist in photographic imagery and objects. 

In recent years, an ever-increasing number of exhibitions, 

galleries, books and auction sales have been devoted to 

the medium of photography. The primary focus of the MA 

course is the critical analysis of the ways in which the earliest 

photographic experiments through to the latest contemporary 

photographic images have established a significant presence 

in private collections, public museums, commercial galleries 

and publishing. 

In Semester One the history of photography from its invention 

in the 1830s through to current practice is studied in-depth 

with the emphasis upon aesthetic and historical analysis. 

In Semester Two, the institutional network and critical and 

theoretical approaches to photography provide the focus for 

the course. There will be a varied programme of guest lectures 

by distinguished experts as well as field trips to museums, art 

fairs and collections in the UK and abroad. 

SEMESTER 1 


Art since 1960 

Issues in contemporary art 

Curating an exhibition 

Writing and publishing art criticism 

Research methodology 

Study trip I 

SEMESTER 2 


The art network 

Art, criticism, theory and literature 

Key artists, key exhibitions 


Options in contemporary art: 

1) Running a contemporary art business 

2) Contemporary photography 

3) Asian art / Contemporary Asian art 

Study trip II and III 

SEMESTER 3 


Dissertation (MA only). Students prepare 

and propose dissertation topics during 

Semester Three under the guidance of 

their tutor. 

FACULTY 

Anthony Downey, Programme Director 

Anna Moszynska, Kathy Battista, Richard 

Noble, Gilda Williams, Andrea Schlieker, 

Henry Lydiate, Marcus Verhagen. 



website. 




SEMESTER 1 


Pre-photography and photography to 1900 

20th century photography 

Issues in contemporary art/photography 

Key artists/photographers 


SEMESTER 2 


The photography industry and network 



Key exhibitions and books 

Photography and contemporary art 


SEMESTER 3 






FACULTY 

Juliet Hacking, Programme Director 

Tony Godfrey. 



website. 



programme is included in the tuition fees.


London Programmes 

07 

EAST ASIAN ART 


This programme concentrates on the art history of China, 

Japan and Korea and is designed for those who wish to 

become Asian art specialists with a knowledge of auction 

house, art market, museum and gallery practices. It offers 

an art historical training in key features and concepts 

encouraging students to make cross-cultural links in the art 

history of East Asia. The teaching focuses on an object-based 

approach and is organised into three strands: ritual and 

religious art, decorative art and pictorial art. 

In Semester Two, students can choose one of three options: 

‘Trade Art’ explores the importation of artistic style and ideas 

into China and the export of ceramics and other items to 

markets in Southeast Asia and Europe, ‘Contemporary Asian 

Art’ examines conceptual art in Asia, and ‘Emerging Art 

Markets’ looks at the Asian art market as one of the major 

areas of growth in the commercial art world. Semester Two 

closes with a practical project that will engage students in 

using aspects of their art historical and professional training 

gained on the course. 

Handling sessions and fieldwork include visits to major 

collections in London, a three-day trip to Germany and a studytrip 

to China (visiting Shanghai, Zhengzhou, Luoyang, Xi’an, 

and Jingdezhen in the academic year 2006-2007, and Silk Road 

sites in Chinese Central Asia in the academic year 2007-2008). 

Students with no prior background in Asian art may consider 

the Foundation Course in Asian Art (please see p.9). 

CONTEMPORARY DESIGN * 


This new programme combines academic study of 20th 

century and contemporary decorative art with an exploration 

of the professional design world, and is aimed at those 

considering a career in this field. 

Core units in Semesters One and Two provide an integrated 

and comprehensive understanding of design from Art 

Nouveau to the pluralism of the present day, examining these 

developments in relation to architecture and interiors. In 

Semester Two students choose an option such as Jewellery 

Design or Graphic Design that complements these studies. 

Although the theoretical concepts and wider contextual 

issues underlying modern design form integral parts of the 

teaching, the course promotes an object-based methodology 

and the development of visual, analytical and interpretative 

skills that are relevant to a range of careers. Visits to 

museums, houses, workshops, dealers, design and craft 

fairs, together with a study tour to Paris, provide opportunities 

to study objects at first hand and also to assess the market 

for 20th century and contemporary design, which is a key 

component of all units. 

Throughout the programme, assignments and contact 

with practitioners in the field introduce students to areas of 

the professional design world such as publishing, dealing, 

curating, and interior design. 

* 

Subject to final validation by the University of Manchester. 


SEMESTER 1 


Ritual and religious art 

Decorative art 

Pictorial art (paintings and prints) 

Three-day trip to Germany 

SEMESTER 2 


Options as outlined above 

Study-trip to China 

SEMESTER 3 






FACULTY 

Anne Farrer, Programme Director 

Julia Hutt 

Gordon Lang 



website. 




SEMESTER 1 


Design 1900-1939: history, theory and 

market 


market (Part I) 


Academic and professional practice 

SEMESTER 2 

21 January – 23 May, 2008 


market (Part II) 

Design since 1980: history, theory and 

market 

Option from jewellery design, graphic 

design, dress design, product design 



SEMESTER 3 

26 May – 31 October, 2008 

Dissertation 




FACULTY 

Lis Darby, Elisabeth Bogdan 



website. 



programme is included in the tuition fees.


BA (Hons) Degree 

Semester and Year 

of Study Abroad 

Programmes in 

London 

08 

BA (HONS) DEGREE 

ART, DESIGN & BUSINESS 

UNDERGRADUATE BA (HONS) DEGREE 

This undergraduate programme combines academic 

study with a strong practical element and aims to prepare 

students for a wide variety of careers in the art world or 

for postgraduate study. It provides a sound knowledge of 

the development of Western fine and decorative art from 

antiquity to the present day, together with a more focused 

understanding of selected periods and themes and an 

introduction to East Asian art. Students are also introduced 

to business management theory and practice relative to the 

public and commercial art worlds. 

Lectures are reinforced by regular visits to museums, galleries 

and the auction house, and study tours abroad will also be 

offered. Through a variety of assignments, the course seeks 

to nurture intellectual and practical skills appropriate for both 

art historical and art business practice. These assignments 

culminate in a dissertation that synthesises art and design 

history with art business. 

The BA is taught over six semesters (three years) but with 

the option of acquiring a Certificate of Higher Education (120 

credits) or a Diploma of Higher Education (240 credits) after 

Year I or Year II respectively. 

YEAR 1 

Comprehensive overview of the visual arts 

of the Western world 

Introduction to East Asian art 

Introduction to art methodologies 

Art business: origins and history 

YEAR 2 

Decorative art, design and interiors from 

1685 to 1960 

Fine art between 1685 and 1830 

Introduction to art business management 

theories, practices and skills 

Specialist options in fine, decorative or 

Asian art 

YEAR 3 

Post 1960 visual culture 

Contemporary issues in visual culture 

Art business planning and management 

Specialist options in fine or decorative art, 

art business management or Asian art 

Research skills and methodology 

Dissertation 

FACULTY 

Lis Darby, Elisabeth Bogdan, James 

Malpas 

COURSE DATES 

Autumn Semester 


Spring Semester 

22 January – 11 May, 2008 



website. 




Sotheby's Institute of Art – London offers seven 

full-time 15-week semester programmes some 

of which can also be taken on a part-time basis. 

Different programmes are offered in the autumn 

and spring semesters, but each combines 

academic study with an insight into the 

professional art world and takes full advantage 

of the rich cultural resources that London offers. 

These courses do not require any previous 

knowledge or formal qualifications but are aimed 

at those with a keen interest in the subject, and 

at those considering a career within the art world. 

They can also provide the necessary foundation 

for students applying to the Postgraduate 

Diploma and MA programmes at the Institute 

who do not have an art history background. 

STUDY ABROAD PROGRAMMES 

The semester courses are credit-rated for 

the US through the Corcoran College of 

Art & Design in Washington, DC, which is 

accredited by the Middle States Commission 

on Higher Education. The Corcoran College of 

Art & Design is also an accredited institutional 

member of the National Association of 

Schools of Art and Design. Undergraduate 

and postgraduate students from North 

America are therefore eligible to enrol on 

one or two credit-bearing programmes that 

may be coordinated with their current college 

or university and credited towards their 

undergraduate or postgraduate degree. 

Students who enrol on two semester 

programmes receive a 5% reduction in the fee 

for the second course. 



Semester and Study Abroad Programmes 

09 

ART & BUSINESS 

This programme is designed for those considering a career 

within an art business context, who are interested both 

in art history, and in how the art world operates. Through 

lectures, walking tours, and visits to specialist museums and 

collections in the first two weeks of the programme, students 

are introduced to the cultural history of London and how art 

has been made, sold and collected there. The art teaching then 

focuses on two areas: the architecture and fine and decorative 

arts of eighteenth-century Britain, and the production and 

consumption of contemporary art and design in London. The 

business component of the programme examines the history, 

management and legal ramifications of both public and private 

art organisations. Lectures and seminars are augmented by 

visits to museums, galleries and historic houses, to art and 

design dealers, and to the auction houses. 

FACULTY 

Elisabeth Bogdan, Lis Darby, Henry Lydiate 

STYLES IN ART 

INTRODUCTION TO WESTERN ART 

Styles in Art is an intensive introduction to the history of 

Western art, for those with little or no background in the 

subject. Students begin their studies with Egyptian antiquities 

in the British Museum, and conclude with contemporary art 

at Tate Modern. The programme covers painting, sculpture, 

architecture, decorative art and the development of the art 

market. Additionally, it examines techniques and materials, 

patronage and the display of collections, religious and 

political contexts for stylistic development, and issues of 

quality and value related to art objects. Tutors augment 

lectures and seminars with focused, object-based teaching 

in London’s museums, galleries and historic collections. A 

trip to Rome to study its Classical and Baroque art treasures 

complements the programme’s regular excursions. 

HISTORY OF PHOTOGRAPHY 

The photograph is the mirror of our age. This programme 

studies the history and theory of photography from its 

invention in the 1830s to contemporary debates. It includes 

an extensive lecture programme, sessions with distinguished 

guest speakers and visits to exhibitions focusing on aesthetics 

and social history. The course offers an in-depth analysis of 

significant movements within the history of photography 

and of thematic issues such as theories of identity and class, 

industrialisation, anthropology, tourism, consumerism and 

globalisation. 

FACULTY 

Juliet Hacking, Tony Godfrey 

FOUNDATION COURSE IN ASIAN ART 

INTRODUCTION TO ASIAN ART 

This programme explains how Asian art forms have developed 

and how religions have affected that development. Lectures 

and handling sessions also explore the various materials 

and techniques that have characterised Asian art, including 

jade, lacquer and woodblock printing. Lectures examine and 

set in context the art of India, China, Japan and Islam. These 

are supported by frequent visits to the major museums in 

London and to specialised collections such as the Percival 

David Foundation for Chinese Art and to collections outside 

London. The programme culminates in a study visit to Europe. 

Seminars help students increase their communication skills, 

while tutorials and a series of object-based projects help them 

develop their analytical and writing skills. This programme can 

be taken as a prelude to the MA in East Asian Art. It is also an 

ideal introduction to the subject of Asian art in its own right. 

FACULTY 

Anne Farrer, Julia Hutt, Gordon Lang 


FACULTY 

David Bellingham, Elisabeth Bogdan, James Malpas 




10 


19C & 20C FINE ART 

ACADEMIES AND THE AVANT-GARDE 

This programme is designed to provide pragmatic studies 

for students with a desire to further their understanding of 

the art world of the last two centuries, its workings, and their 

potential future careers working within it. Lectures introduce 

the innovators of the period, from Holman Hunt to Magritte, 

Whistler to Malevich and Monet to Mondrian, among many 

others; they provide a core of art historical knowledge 

which can act as ‘raw material’ for the study of themes 

which include traditional genre painting and portraiture 

and the developing market for these in Europe and America 

through the 19th and 20th centuries and especially since 

1965. Student-led seminars, exercises in art journalism and 

exhibition reviews help develop student confidence in making 

qualitative judgements of art as well as the visual and verbal 

skills essential for art-related careers. Interest in commercial 

galleries and the auction houses’ activities is encouraged, and 

current sales of art from the period are monitored. There are 

regular visits to the major London collections and galleries 

and the programme includes a trip to Paris to study its 

unparalleled holdings of 19th and 20th century art. 

DESIGN & THE DECORATIVE ARTS 

Sotheby’s Institute of Art – London runs two 15-week 

semester courses specialising in the history of the 

decorative arts and design: From the Renaissance to 

Neoclassicism and From Historicism to Postmodernism. 

These courses can be taken individually, but together 

they provide a comprehensive understanding of the 

development of furniture, ceramics, glass, metalwork 

and patterns from c.1550 to the present day. Further, they 

equip students with knowledge and skills appropriate to a 

wide range of careers in the art and interior design worlds. 

Both courses may be taken on a full- or part-time basis. It 

is also possible to follow one century only (17th, 18th, 19th 

or 20th) for seven weeks. 

17C & 18C DESIGN & DECORATIVE ART 

FACULTY 

James Malpas 

FROM THE RENAISSANCE TO NEOCLASSICISM 

This programme examines the development of the decorative 

arts from the Renaissance to Neoclassicism in relation 

to architecture and interiors and within a wide historical 

and social context. Major stylistic movements such as the 

Baroque and the Rococo are studied, alongside the work 

of key designers and craftsmen, such as Juste-Aurèle 

Meissonier, Thomas Chippendale and Robert Adam, and of 

important ceramic factories such as Meissen and Wedgwood. 

Special emphasis is placed on the materials and techniques 

employed in the creation of decorative art objects. Lectures 

are reinforced by handling sessions, visits to museums, 

country houses and workshops and previews of relevant 

Sotheby’s sales. Full-time students complete a range of 

written and practical assignments that help to develop their 

visual and analytical skills. 

FACULTY 

Jane Gardiner



11 

19C & 20C DESIGN & DECORATIVE ART 

FROM HISTORICISM TO POSTMODERNISM 

Students study the stylistic developments in design and 

decorative art from the early nineteenth century to the present 

day in the context of architecture and interiors and against 

their wider social, historical and cultural background. Major 

trends, including the Arts and Crafts Movement, Art Nouveau, 

Art Deco, Modernism, Pop and Postmodernism are also 

examined, and the contribution of key designers such as 

William Morris, Emile Gallé, J.E. Ruhlmann, Charles Eames 

and Ettore Sottsass are assessed. Lectures are reinforced by 

visits to museums and houses, and by handling sessions, 

while previews of relevant Sotheby’s sales and contact with 

dealers also introduce students to the market for 19th and 

20th century design. Full-time students undertake a variety of 

written and spoken assignments that aim to develop visual, 

analytical and practical skills appropriate for a career in the 

design history world. A study tour to Paris to visit museum 

collections and dealers is normally offered. 

“It was very important for me 

to work with original objects to 

understand their authenticity. I 

wanted to be taught by experts who 

were leaders in their fields. Not only 

did I make many good friends at 

the Institute from all over the world, 

but now I also have a network in the 

international art world. 

” 

Isabella Croy, MA IN FINE & DECORATIVE ART, 2003 

Museum Consultant and Exhibition Planner, 

Decorative Arts Consult, Vienna, Austria 

LONDON ONE-SEMESTER PROGRAMMES 

FACULTY 

Lis Darby, Raymond Notley 

SEMESTER COURSE DATES 

SPRING SEMESTER 

22 January – 11 May, 2007 

AUTUMN SEMESTER 


For further information on Semester or Summer Study 

Courses, please contact: 

Annapriya Sleight 

Tel: +44 (0) 207 462 3241 

Email: a.sleight@sothebysinstitute.com 


Summer Study 

in London 

4-WEEK PROGRAMMES; JUNE-AUGUST 2007 

12 

SUMMER STUDY IN LONDON 

CONTEMPORARY ART IN LONDON 

This course looks at one of today’s most vibrant art centres. 

Students study the growth of the London art scene, its ideas, 

personalities and machinations. Critics, dealers and artists 

give lectures and visits are made to artists’ studios, museums, 

sculpture parks, galleries and Sotheby’s auction house. 

FACULTY 

Kathy Battista, Anna Moszynska 

EUROPEAN DECORATIVE ART 

This course examines European decorative art from 1650 to 

1905 and provides a sound introduction to the major styles, 

designers and makers of furniture, ceramics, glass and 

metalwork from these centuries. 

FACULTY 

Jane Gardiner, Elisabeth Bodgan, Lis Darby 

TWENTIETH CENTURY DESIGN 

This course explores the development of design and the 

decorative arts from 1900 to 2000, examining key movements 

of the period including Art Nouveau, Modernism, Art Deco, 

Post-Modernism and the Craft Revival from a theoretical and 

stylistic standpoint. Lectures are reinforced by tutor-led visits 

to museums and houses, and students are also introduced to 

the market for 20th century design. 

FACULTY 

Lis Darby 

MARKETING VISUAL ARTS 

This course aims to raise awareness of marketing issues 

faced by today’s visual arts organisations. It examines how 

established marketing principles and practices can help 

organisations meet strategic objectives and explores such 

issues as product management, branding, retailing and 

customer relationship management. 

FACULTY 

Catherine Morel 

ART & ITS MARKETS 

This course looks at four different types of objects and 

examines how they are identified and catalogued and how 

quality and value is assessed. Students study how auctions 

are marketed, organised and run. 

FACULTY 

David Bellingham 

ACCOMMODATION 

Summer Study participants may have their accommodation 

arranged for them locally. For more details, please refer to our 

website: www.sothebysinstitute.com. 

STUDENTS FROM NORTH AMERICA 

Each Summer Study in London programme is awarded six US 

credits through The Corcoran College of Art & Design which 

is accredited by the Middle States Commission on Higher 

Education. The Corcoran College of Art & Design is also an 

accredited institutional member of the National Association 

of Schools of Art and Design. Please let us know if you would 

like us to arrange accommodation for you. 

PUBLIC PROGRAMMES 

Sotheby’s Institute of Art – London offers a variety of short 

courses to the general public throughout the year to meet 

the needs of those who have an active interest in art but 

limited time. Led by Sotheby’s Institute of Art Faculty and 

leading practitioners in the field, these short courses run 

over a series of evening lectures, one or two-week periods or 

three days and focus on the art market, contemporary art, 

jewellery and the decorative arts. 

Contemporary Art Fair courses are also run throughout 

the year aligned with international art fair visits and can be 

tailored to suit client and organisational needs. 

For further information on Public Programmes in London, 

please contact Lyn Calzia, on l.calzia@sothebysinstitute.com.


New York 

Programmes 

13 

ART BUSINESS 

MASTER’S DEGREE; GRADUATE CERTIFICATE 

The Art Business programme, offered by Sotheby’s Institute of 

Art–New York, the capital of the American art world, prepares 

students for careers in many sectors of the international art 

world. Various professions such as auctioneer, dealer, consultant, 

curator, investor, insurer, lawyer and critic are explored, and 

relevant professional art world practice is studied including 

marketing, the media, information technology, art content 

production, business communications, investment, insurance, 

valuation, art law and economics. 

AMERICAN FINE AND DECORATIVE ART 


Upon graduation, most students in the American Fine and 

Decorative Art programme are interested in assuming a 

responsible professional position in the field of American 

art. The programme prepares students to achieve this goal 

by fostering an enhanced understanding of art history as it 

relates to the cultural, historical, and stylistic significance of 

paintings, furniture, and decorative objects from the colonial 

period through to the modernist movements of the first half 

of the twentieth century. 

NEW YORK PROGRAMMES 

Concepts and theories of the visual arts and the conventions of 

business culture are examined with the help of respected scholars 

and renowned practitioners. Academic travel is an intrinsic 

feature of the programme. Students visit private and corporate 

collections, museums and galleries, art fairs and festivals, studios 

and production facilities which are all included as part of the 

curriculum. This wide range of travel opportunities encourages 

exploration and investigation of dynamic art marketplaces and 

institutions in North America. 

Participants gain an advanced perspective of cultural, 

commercial, and ethical issues as they pertain to those areas 

where art and business intersect. The programme provides 

students with the skills and knowledge to assume a responsible 

role in the field, and to progress to a successful career in art 

business. 

Museum-based sessions, visits to conservation studios, 

object-handling workshops, technical discussions, regional 

study trips, as well as lectures and seminars on American 

collecting, patronage, museum curatorship, and the art 

market constitute the course of study. Students develop the 

skills of connoisseurship and debate issues of damage and 

restoration; they address the recognition and analysis of 

fakes, forgeries, and reproduced art objects, and compare 

and contrast the historical systems of workshops and art 

production to the structure of the art market of today. A 

synthesis of the theoretical and practical aspects of the 

programme advances the student’s progress toward the level 

of expertise required for success in the professional art world. 

SEMESTER 1 


Art law 

Art markets 

Organisational behaviour 

Art business planning and finance 

SEMESTER 2 

21 January – 23 May, 2008 

Ethics and the art market 

Art business communications and 

marketing 

Art enterprise practices 

Art research methods 

Upon successful completion of the first two 

semesters and completion of the Graduate 

Certificate, students may continue to study 

further for a Master’s degree by completing 

a third semester under supervision by 

Sotheby’s Institute of Art – London. 

SEMESTER 3 


Dissertation (Master’s thesis) 



guidance of their tutor. The dissertation 

(thesis) is submitted for review by the 

University of Manchester in the UK. 

FACULTY 

Steven L. Brezzo, Director, Sotheby’s 

Institute of Art – New York; Programme 

Director 

Janette Barth 

Judith Bresler 

Michael Klein 

Tom McNulty 

András Szántó 



website. 




SEMESTER 1 


American fine art, Colonial to Modern 

American decorative art, furniture and 

small objects 



SEMESTER 2 

21 January – 23 May, 2008 

Subject areas as above. 







SEMESTER 3 








FACULTY 

Carrie Rebora Barratt, Programme Director, 

Advisory 



website. 






New York Programmes 

14 

NEW YORK PROGRAMMES 



The programme in Contemporary Art involves students in the 

study of art and its relationship to historical, social, political, 

and economic change in the period 1945 to the present day. 

By gaining an understanding of the connections between 

dominant cultural and philosophical ideas of the period and 

the visual languages of art, creative links are recognised and 

critical insights are attained. 

Students in the Contemporary Art programme are required 

to analyse the development and nature of the American art 

market. They examine the various roles and careers within 

the art world such as gallerist, consultant, auctioneer, curator, 

fabricator and artist. With an eye toward future career 

planning, students visit commercial galleries, auction houses, 

art consultancies, private collections, public museums 

and institutions, and become familiar with their differing 

characteristics and how they function. 

The critical study of contemporary artworks, art movements 

and artists involves students with the issues of contemporary 

art and the complex workings of the art world and its 

networks. The problematics of “taste” and aesthetics, 

for example, are explored, and the myriad theories and 

concepts commonly used to explicate contemporary art are 

investigated. 

SEMESTER 1 


History of contemporary art 1945-1980 

Critical thought and aesthetic analysis in 

contemporary art 

Professional studies: market practices, art 

valuation, investment, insurance 

Research methodologies in contemporary 

art 

SEMESTER 2 

21 January – 23 May, 2008 

History of contemporary art 1980-present 

Contemporary art markets including new 

media and emerging markets 

Art law 








SEMESTER 3 










website. 




“The programme is the 

equivalent of a business school 

for the arts. Not only do you get an 

incredible wealth of specialised 

knowledge, but you are able to 

develop professional contacts and 

relationships all over the world. 

” 

Sarah Poitevent, MA Fine and Decorative Art 2005 

Assistant Director, Corcoran College of Art and Design / The 

Smithsonian Associates Masters Program in the History of Decorative 

Arts, Washington DC, USA 

PUBLIC PROGRAMMES 

Sotheby’s Institute of Art–New York offers a variety 

of informative specialist programmes to the general 

public throughout the year. 

In 2007, the inauguration of Sotheby’s Weekend will 

take place. It is an exclusive “behind the scenes” 

opportunity for both novice and experienced 

collectors to meet specialists in Sotheby’s 

various departments, ranging from Old Masters 

to Collectibles. It is an occasion to experience an 

auction from a vantage point rarely offered and to 

learn from the professionals how to bid, strategise, 

and participate in this riveting arena. 

For further information, please contact 

Sara Moore on: 

Tel: +1 (212) 517 2873 

s.moore@sothebysinstitute.com


Singapore 

Programmes 

15 

ART BUSINESS 

The art and antiques market is a $30 billion-plus industry. It 

employs hundreds of thousands of professionals in small and 

medium-sized businesses and large enterprises. Investment 

in art has also entered mainstream financial markets as an 

alternative investment strategy. 

The Singapore Art Business programme prepares students 

for careers in the commercial art world. It is designed for 

students who already have an art history degree or want 

to pursue a career in this field, and want to understand 

business theories and practices, as well as the technical and 

structural elements of the art market. It is also designed to 

cater for the needs of business school graduates; along with 

traditional business topics, specialised subjects include art 

law, the structure and mechanisms of the art market and art 

valuation. Business training includes finance, investment 

and insurance, business communications and organisational 

behaviour, ethics and the marketing of art. 


This is a specially designed programme for those who want 

to study contemporary art in-depth, with a view to working in 

commercial galleries or public museums, opening their own 

galleries or working as curators, editors or critics. The course 

emphasises the artwork itself and how we approach and interpret 

contemporary art. Analysis of paintings, sculpture, installations 

and conceptual works form a regular part of the curriculum, with 

tutor-accompanied visits to Singapore’s museums and galleries. 

Then, using a commercial or public gallery as a speculative 

model, students will propose an exhibition. 

In Semester One there is an intensive series of lectures by 

faculty and guest speakers on the development of art from the 

1960s to the present, including key themes in Europe, the US 

and Asia. Throughout the course and the dissertation students 

can develop and discuss any ideas or issues they may have in 

one-on-one tutorials. 

Semester Two focuses on the art network and the relationship 

of criticism, theory and literature. Study trips to museums, 

collections and art fairs in the Asia-Pacific rim are also key 

components in these two semesters. 

SINGAPORE PROGRAMMES 

SEMESTER 1 

6 August – 3 December, 2007 

Art law 

Art markets 

Business communications and 

organisational behaviour 

SEMESTER 2 

7 January – 2 May, 2008 

Business planning and finance 

Ethics, aesthetics and conservation 

Art valuation, investment and insurance 

Interdisciplinary project 

SEMESTER 3 

5 May – 26 September, 2008 

Dissertation 



website. 




SEMESTER 1 

6 August – 3 December, 2007 

Art since 1960 

Issues in contemporary art 


Writing and publishing art criticism 


SEMESTER 2 

7 January – 2 May, 2008 

The art network 


Key artists, key exhibitions 


Options in contemporary art: 

1) Running a contemporary art business 

2) Contemporary photography 

3) Asian art / Contemporary Asian art 

SEMESTER 3 

5 May – 26 September, 2008 

Dissertation 



website. 






Your pathway 

to a career in the 

international art world 

16 

YOUR PATHWAY TO A CAREER 

“The environment provided by 

Sotheby's Institute of Art in terms of 

its international body of students and 

teaching staff who are passionate about 

their work and research, combined with 

unparalleled access to works of art, 

afforded an education that has allowed 

me to enter the industry very well 

prepared. The rigorous programme, with 

its trips abroad and numerous museum 

visits, has instilled skills that are readily 

applicable in commercial art and that I 

would not have gained elsewhere. Most 

importantly, we were taught to look 

and think about art - connoisseurship 

skills that cannot be gleaned from 

textbooks. 

” 

Jen Lyn Low, MA EAST ASIAN ART, 2004 

Associate Specialist in Chinese Works of Art, 

Christie’s NY 

Sotheby’s Institute of Art is dedicated to quality, 

excellence and innovation in art education. Through 

our high academic standards, professionalism and 

a unique approach to learning, we are committed to 

students’ success, and their career development within 

the international art world. 

Careers guidance for students is provided throughout 

the academic year as well as assistance with job 

searches and internship placements in both London 

and New York. A career development workshop is held 

every year hosted by art world professionals who give 

insights into their working life and practices. 

Graduates of the Institute also become members of 

Sotheby’s Institute of Art Alumni Association who have 

access to a range of services which help graduates 

with their careers. Representing museums, private 

collections, galleries and auction houses all over 

the world, former students remain connected to the 

Institute through their passion and involvement in the 

arts in a professional capacity. Our career mentoring 

programme is designed for students and alumni 

to explore various career fields through informative 

interviews which can help both students and alumni in 

their chosen career paths.


Academic Faculty 

NOTED SCHOLARS AND PRACTITIONERS IN THE ART WORLD 

Our programmes are taught by some of the most knowledgeable and highly respected scholars in the field of art. 

The combination of our academic faculty, visiting tutors, specialist lecturers and Sotheby’s experts provides students 

with a wide breadth of knowledge and experience as well as an opportunity to develop a network of professional 

relationships. 

17 

JAMES McCALMAN – MANAGING DIRECTOR 

Managing Director, Sotheby’s Institute of Art. PhD 

in International Business, University of Strathclyde, 

BA (Hons) in Government and Modern History, 

Heriot-Watt University, Edinburgh, Fellow of the 

Royal Society of Arts, and Member of the Institute of 

Directors. Author of six books and numerous journal 

articles in the areas of change management and 

team working. His textbook, Change Management: a 

guide to effective implementation, Sage Publishers, is 

now in its third edition. James has worked for several 

UK academic institutions and also has business 

experience in the electronics and healthcare sectors. 

STEVEN L. BREZZO – DIRECTOR NEW YORK 

Director, Sotheby’s Institute of Art – New York/ 

Programme Director, Art Business. MFA, University 

of Connecticut, has both for-profit and non-profit 

professional experience in the arts, including art 

museum directorship and curatorial and museumeducation 

positions. He has developed and managed 

international art exhibits from concept through 

budgeting and production and has served as an arts 

project consultant, particularly in arts education for 

children. Publications include The Artist at Ringside; 

Dr. Seuss from Then to Now; and contributions to 

art periodicals and catalogues on subjects ranging 

from Outsider artist, A.G. Rizzoli, to Joaquin Sorolla, 

Fabergé, and Toulouse-Lautrec. 

MEGAN ALDRICH – ACADEMIC DIRECTOR 

PhD in architectural history, University of Toronto; 

BA, Brown University, and Academic Director of 

Sotheby's Institute of Art. She began her career in 

the Victoria and Albert Museum, London, curated 

the exhibition on the Crace firm of decorators at the 

Brighton Museum and Art Gallery (1990) and edited 

the accompanying publication. She has contributed 

to the catalogues of the Pugin (1995) and William 

Beckford (2001) exhibitions at the Bard Center in New 

York, and her book Gothic Revival (1994) was awarded 

the Bannister Fletcher prize by the Royal Institute of 

British Architects. She has lectured and published 

widely, edited the journal Furniture History (2001-05), 

and has contributed to BBC and Channel 4 television 

programmes. 

LONDON FACULTY 

KATHY BATTISTA 

PhD, London Consortium; MA, Courtauld Institute 

of Art; BA, Fordham University, is a writer, lecturer 

and curator. Her research centres on the work of 

feminist artists in 1970s London, re-considering 

their role in the context of performative practice 

and alternative spaces. She is co-author of Art New 

York (Ellipsis, 2000) and Recent Architecture in The 

Netherlands (Ellipsis, 1998), and a contributing 

author to Surface Tension: Problematics of Site 

(Errant Bodies 2003) and the forthcoming White 

Cube Blue Sky. 

DAVID BELLINGHAM 

BA (Special Hons), University of Birmingham, and 

is currently completing his doctoral thesis at the 

University of Manchester on ancient Roman genre 

painting. He is former lecturer in Classical Studies 

and Heritage Management at St Mary’s University 

College. His publications include An Introduction to 

Greek Mythology; An Introduction to Celtic Mythology; 

The Kingfisher Encyclopaedia of World Mythology; 

Greece. His recent articles reflect his interests in 

Roman visual culture as well as the auction world. 

ELISABETH BOGDAN 

MA (Hons) in History of Design, Royal College of 

Art/Victoria & Albert Museum; BA (Hons) in Historical 

Geography, University of Toronto. She is former 

lecturer at Southampton Institute's Fine Arts Valuation 

programme, Oxford Brookes University and University 

of Wales Institute, Cardiff. Her specialist teaching 

includes 18th to 20th century European and American 

design, decorative art and architectural histories and 

she is former Trustee of the Design History Society. 

CHANTAL BROTHERTON-RATCLIFFE 

PhD in Literature and Art History, Warburg Institute, 

University of London; MA in Art History, University 

of Edinburgh. She was trained as a painting restorer 

and specialist in historical painting techniques and 

lectures regularly for courses in London, Luxembourg 

and Washington, DC. 

LIS DARBY 

PhD in History of Art, Courtauld Institute, University 

of London; MA in Art History, Courtauld Institute; BA 

(Hons) in Fine Art, Leeds University. Her publications 

include The Cult of the Prince Consort (with Nicola 

Smith), the catalogue (with Benedict Read) of E. 

Manning, Marble & Bronze: The Art and Life of Hamo 

Thornycroft, and articles in various periodicals including 

The Sculpture Journal for which she is a member of the 

Editorial Board. 

ANTHONY DOWNEY 

He has submitted his PhD at Goldsmiths College, 

London and writing a book on aesthetics, politics 

and ethics. He is a regular contributor to Third 

Text, Flash Art, and Wasafiri. He has also published 

essays, criticism and interviews in the New York Arts 

Magazine, Art Review, Journal of Visual Culture, BOMB 

Magazine (New York), Untitled, Bridge Magazine, 

Contemporary, Circa, Art and Architecture Journal, 

Contemporary Visual Arts, James Joyce Quarterly, 

James Joyce Literary Supplement, James Joyce 

Broadsheet, Journal of Beckett Studies, The Irish Times, 

The Cuirt Journal, Skylines, Wanderlust and Upstart. 

He was the Associate Editor of PLUK, London and will 

be a member of the Education Steering Committee 

for Photo-London 2007. 

ANNE FARRER 

PhD in late Ming woodblock illustration, University 

of London; BA in Chinese, School of Oriental 

and African Studies, University of London. She is 

sinologist and historian of Chinese painting and 

graphic art and formerly Assistant Keeper of Chinese 

graphic collections and Chinese Central Asian 

collections at the British Museum. Her exhibitions 

include Caves of the Thousand Buddhas: Chinese 

Art from the Silk Route, The Brush Dances and the 

Ink Sings and A Garden Bequest-Plants from Japan, 

Chinese Printmaking Today: Woodblock printing in 

China 1980-2000. 

TONY GODFREY 

MA in Anglo-Irish Literature, University of Leeds, 

Director of Research and Chair of the Advisory 

Council of Sotheby’s Institute of Art. His books 

include Conceptual Art, Drawing Today and The 

New Image: Painting in the 1980s. His new book on 

contemporary painting will be published by Phaidon 

in 2007. He has taught at Yale, New York and Oxford 

Universities and is a regular contributor to exhibition 

catalogues and periodicals including Art in America, 

Art Monthly, Burlington Magazine and Untitled. 

JANE GARDINER 

MA in progress at Birkbeck College, University 

of London. She trained at the Victoria and Albert 

Museum, specialising in early European ceramics 

and glass and has lectured at the University of 

London, Michigan State University, the National Art 

Collections Fund and the National Trust. 

JULIET HACKING 

PhD in mid-19th century British photography, 

Courtauld Institute of Art. She is author and curator 

of Princes of Victorian Bohemia: Photographs by David 

Wilkie Wynfield (National Portrait Gallery 2000) and 

was formerly photographs specialist at Sotheby’s 

auction house in London from 2000-06; appointed 

Head of Department in 2003. 

ACADEMIC FACULTY 




18 

ACADEMIC FACULTY 

LONDON FACULTY 

JULIA HUTT 

She is part-time Curator of Japanese art at the Victoria 

& Albert Museum, specialising in lacquerwork, inro 

and netsuke. Her books include Japanese Inro and 

Japanese Netsuke. 

GORDON LANG 

PhD in progress at Birkbeck College, University of 

London. He was formerly expert at Sotheby's Ceramics 

Department in London (1966-72, 1978-86). Honorary 

Keeper of Porcelain at Burghley House and a ceramics 

expert on the BBC Antiques Roadshow. His publications 

include The Wrestling Boys: Catalogue of the Exhibition 

of Chinese & Japanese Ceramics from the 16th to the 

18th Century in the Collection at Burghley House and 

The Powell Cotton Collection of Chinese Ceramics. 

Contributor to The Treasure Houses of 

Britain and member of Advisory Committee. 

HENRY LYDIATE 

LL.B, University of Newcastle upon Tyne. Visiting 

Professor of Art Law, University of the Arts, London. 

Course Consultant and Visiting Lecturer in legal, 

business and professional practice studies at all major 

art schools in the UK since 1978. Legal and business 

consultant specialising in the creative arts. His 

publications include: The Visual Artist and the Law, The 

Visual Artist's Copyright Handbook, Visual Arts and Crafts 

Guide to the New Laws of Copyright and Moral Rights. 

Author of regular art law column for Art Monthly; 

collected art law articles on-line at: www.artquest.org. 

uk/artlaw. He is Non-Executive Director of Design and 

Artists Copyright Society, Acme Artists Studio and 

Housing Association, and Public Art Forum. 

JAMES MALPAS 

PhD in progress on Finland and Its Cultural Fight for 

Independence, 1885-1917; MPhil, Renaissance Studies, 

Warburg Institute, University of London; MA in English 

and History of Art, Cambridge University. He is author 

of Realism and contributor to exhibition catalogues at 

Royal Academy and elsewhere. Book reviewer for The 

Art Newspaper and course organiser for Tate Modern 

and Tate Britain. He broadcasts regularly for BBC 

Radio 3 and 4. 

CATHERINE MOREL 

PhD in corporate support of the arts in France, 

University of Sheffield. She has devised and taught 

courses in marketing applied to the arts and on 

corporate funding of the arts at both UK and 

French institutions (MA in Cultural Policy and Arts 

Management at Sheffield Hallam University, and 

Major in Cultural Management, Audencia, Nantes 

School of Management). Corporate arts sponsorship 

advisor to the French Ministry of Culture and associate 

research fellow with the Chair in European Arts and 

Management at Bordeaux Business School. She is 

co-author of a book on art sponsorship to be published 

in 2007. Articles published in journals such as the 

International Journal of Cultural Policy. 

RICHARD NOBLE 

PhD in political philosophy from the London School 

of Economics. His research is centered primarily on 

the intersection of art and politics; he is currently 

working on the preparation of a reader on the utopian 

tendency in visual art. Dr. Noble has recently written 

on a number of significant contemporary artists, 

including a monograph on Antony Gormley, and 

essays on Rachel Whiteread, Michael Craig-Martin 

and David Batchelor. He also teaches Critical Studies 

in the Visual Art Department at Goldsmiths College. 

RAYMOND NOTLEY 

Lecturer Emeritus of Sotheby's Institute of Art. He 

has taught in the Institute since 1987. His wide 

range of interests includes the history of glass and 

ceramics, as well as design and decorative interiors. 

The latter includes many aspects of Russian art 

and manufacture. He has published and has 

curated several glass-related exhibitions as well as 

donating items to many museums. He delivered the 

Robert Charleston Memorial Lecture of 1999. 

NOËL RILEY 

Writer and consultant on the decorative arts. She 

completed the catalogue of the furniture at St. Paul’s 

Cathedral, London. Author and curator of Country 

Pursuits: the Business of Ernest Beckwith, shown in 

Braintree District Museum. Author of a book on the 

Regency technique of penwork to be published by 

Oblong Press. 

IAIN ROBERTSON 

PhD on the emerging art markets of Greater China 

at City University, London in 2000. In addition to 

over eighty articles for the arts press, his book, 

Understanding International Art Markets, was 

published in 2005. This publication will be followed 

by a book entitled Art Business. Specialist knowledge 

of East Asia and the relationship between art and 

commerce. Advisor, Asia Art Archive; Honorary 

Director of Education, MOCA, Beijing; Asia 

Correspondent of The Art Newspaper. 

ANDREA SCHLIEKER 

MA and PhD in art history, Bonn University. She is 

a freelance curator, lecturer and writer. For over ten 

years she was curator at public galleries in Britain, 

including Arnolfini, Bristol, ICA and Serpentine 

Gallery, London, where she organised many national 

and international exhibitions. Recent publications 

include: A.K.Dolven (Kunsthall Bergen, Norway, 

2004); British Art Show 6 (Hayward Gallery Touring 

2005); Nathan Coley (Mount Stuart, 2006). 

BERNARD VERE 

PhD (London Consortium) on the Avant-Garde 

in England, 1909-1939. MRes (Consortium) in 

Humanities and Cultural Studies. MA (Nottingham) 

in Critical Theory. BA (East Anglia) in Literature and 

Philosophy. Has published work in a number of 

journals and art magazines, most recently ‘Enigma 

Variation: Edward Wadsworth’s “Marine Still-Lifes” 

and Giorgio de Chirico’ in Visual Culture in Britain. 

He previously edited Eyeing London (Lawrence and 

Wishart, 2002) and has also published review articles 

and reviews in Textual Practice, New Formations and 

Contemporary. Has taught for Birkbeck College 

(University of London), London Metropolitan 

University and Tate. 

MARCUS VERHAGEN 

PhD in Art History; MA in Art History, both from 

University of California, Berkeley; BA in Art History, 

Peterhouse, Cambridge University. He has published 

essays for The Nineteenth-Century Visual Culture 

Reader (Routledge, New York and London, 2004); 

Recent Sonia Boyce; La, La, La, (Reed College Gallery 

catalogue, 2001); Cinema and the Invention of Modern 

Life (University of California Press, Berkeley and 

London, 1995); and has written reviews and criticism 

for, amongst others, Annotations, Art Monthly, frieze, 

Modern Painters, Contemporary and Art Review. 

GILDA WILLIAMS 

Doctorate in architecture from the Politecnico 

University in Milan, and is currently working on 

a PhD with the Open University, titled Warhol’s 

Women. She is Editor and Commissioning Editor for 

Contemporary Art at Phaidon Press, London, since 

1994. For Phaidon's Contemporary Artists series 

she has commissioned some 45 monographs, 

including Louise Bourgeois, Mike Kelley, Hans Haacke, 

Thomas Hirschhorn, Roni Horn, Paul McCarthy and 

Richard Prince. Formerly Managing Editor of Flash 

Art International, she is a contributor to Tate etc., Art 

Monthly and Parkett; publications include Art from 

the UK (co-author, Sammlung Goetz, 1997). Williams’ 

curated exhibitions include London Orphan Asylum 

(2000) and Strange Days: New British Photography 

(1997). She is also a London correspondent for the 

magazine Artforum, and her book The Art Book for 

Children was awarded the Best Illustrated Children's 

Book of the Year award in 2006. 

ANNA MOSZYNSKA 

MA in History of Art, Courtauld Institute, University of 

London. She devised and taught art courses in various 

London colleges before initiating contemporary art 

studies at Sotheby's Institute of Art – London. She 

has written and broadcast extensively in the field of 

contemporary art; her books include Abstract Art and 

Antony Gormley Drawings. She is currently writing a 

book on Anish Kapoor.



NEW YORK FACULTY 

CARRIE REBORA BARRATT 

Programme Director, Advisory-American Fine 

and Decorative Art. PhD, Graduate Center of the 

City University of New York, is Curator of American 

Paintings and Sculpture, and Manager of The Henry 

R. Luce Center for the Study of American Art, at the 

Metropolitan Museum of Art in New York. She has 

served as a university and college lecturer and visiting 

associate professor in American art; in museology and 

collections management; and in curatorial studies. 

She has organised exhibitions, published, and lectured 

widely on a variety of topics in American art. 

JANETTE M. BARTH 

PhD, University of Maryland, is an economic 

consultant and president of her own consulting firm. 

She specialises in economic research, including 

analysis of specific markets (e.g. artists Louise 

Nevelson, George Grosz, Franz Kline), and in economic 

quantifying and forecasting. Barth is a graduate of 

Sotheby’s Institute of Art – New York and has been 

a faculty member at the University of Maryland in 

College Park, and at Marist College in Poughkeepsie, 

New York. 

JUDITH BRESLER 

JD, New York Law School, is a leading expert in art 

law. Her publications include Art Law: The Guide for 

Collectors, Investors, Dealers and Artists, 3rd edition, a 

three-volume treatise of which she is co-author, and a 

variety of articles for professional journals and reviews 

on subjects including First Amendment protection; 

appraising and authentication; repatriation; fair use; 

copyright; licensing; and legal issues for artists. 

MARTIN EIDELBERG 

PhD, Princeton University, is Professor Emeritus of 

Art History from Rutgers University and has been a 

lecturer in the Sotheby’s Works of Art Programme 

since 1987. He has written over seventy journal articles 

about subjects ranging from the Wiener Werkstätte 

to Watteau, and is a prolific lecturer, having appeared 

in over 125 venues in the United States, Canada and 

Europe, where his topics addressed American art 

pottery; Modern furniture; Japonisme; Art Nouveau; 

Porcelains, and Art Glass. 

JENNIFER FAULDS GOLDSBOROUGH 

MA, Connecticut College, is former chief curator 

at the Maryland Historical Society, where she was 

responsible for nationally recognised exhibitions 

such as Lavish Legacies: Baltimore Album Quilts 

1845-1885 and Classical Maryland 1815-1845. She 

is a past trustee of the Charles Carroll House and 

currently a trustee of the Chase-Lloyd Home. Author 

of Silver in Maryland: Eighteenth and Nineteenth 

Century Maryland Silver, she is also co-author of 

Women Silversmiths, and a contributing writer for a 

variety of anthologies on American decorative arts. 

WENDELL D. GARRETT 

MA, University of Delaware Winterthur Program in 

Early American Culture is Senior Vice President, 

Americana, at Sotheby’s and Editor-at-Large, The 

Magazine Antiques. Garrett discovered and edited for 

publication by Harvard University Press the earliest 

diary of John Adams. He is a past Chairman of the 

Board of Trustees of the Thomas Jefferson Memorial 

Foundation (Monticello), and has written Monticello 

and the Legacy of Thomas Jefferson. Garrett is also 

co-author of The Arts in Early American History, among 

other volumes about the history of American art. 

CYNTHIA J. GOODMAN 

PhD, University of Pennsylvania is a recent recipient 

of an American Association of Museums MUSE 

award for a thirty-five foot video wall, produced by 

her firm, Goodman/Rutt, for Unchained Memories: 

Readings from the Slave Narratives, a touring 

exhibition organised by the National Underground 

Railroad Freedom Center. Goodman was co-director 

with Nam June Paik of the InfoART Pavilion at the 

Kwangju Biennale in Korea; she is the author/ 

producer of the CD-ROM, InfoArt: The Digital Frontier 

from Video to Virtual Reality. A founding member of 

the Webby Awards, Dr. Goodman was elected to 

the Digital Arts Academy in 1999 and the World 

Technology Network in 2002. 

JEROME L. HOULE III 

BFA, University of North Carolina, Chapel Hill, is the 

Founder and President of Bliss House, Inc., one of the 

top ten independent licensing agencies in America 

for the last twenty years. He is known for originating 

programmes for Babar, Curious George, Chaplin, 

General Motors, and others. Houle was the Vice 

President, Marketing Worldwide of Jim Henson’s 

Muppets, where he created a licensing programme 

in sixteen countries. He and his colleagues founded 

the first professional licensing association in the 

world, for which he wrote the original charter. 

EVIE T. JOSELOW 

PhD, The Graduate School and University Center 

of the City University of New York has served as 

Assistant Curator of the Forbes Magazine Collection; 

as Chief of Research for the New York Commission 

for Art Recovery, and has worked in the Collectibles 

Department of Sotheby’s. Her academic interests 

include American furniture of the seventeenth and 

eighteenth centuries; The Beaux-Arts Tradition 

in America; Victorian painters; Charles Rennie 

Mackintosh, Fabergé, and the History and Design of 

Gardens. 

MICHAEL KLEIN 

MA, Williams College, BA from New York University, 

is a PhD Candidate in Art Criticism and Theory 

at the Graduate Center of the City University of 

New York. His professional experience has been 

as a dealer, writer, educator, and curator of public 

institutional and prestigious private collections, 

including the Microsoft Art Collection. Klein is 

the author of articles and reviews in national and 

international art periodicals, and of catalogue essays 

and entries on artists including Louise Nevelson, 

Lynda Benglis, Ross Bleckner, Jonathan Borofsky, 

Helen Frankenthaler, Eva Hesse, Mary Miss, Bruce 

Nauman, Joel Shapiro, and Wayne Thiebaud, among 

many others. He has recently completed a catalogue 

on the large scale cartoons of painter Alex Katz, and 

is currently engaged in the preparation of several 

independent curatorial projects. 

TOM McNULTY 

MA, New York University, and MLS, City University 

of New York, is an independent art researcher 

whose subjects include provenance and valuation 

of fine and decorative arts and collectible objects. 

As an appraiser he specialises in nineteenth and 

twentieth century paintings, drawings, sculpture 

and prints for major estates, foundations, insurance 

companies, and legal firms. He is the author of Art 

Market Research: A Guide to Methods and Sources 

and of articles on research, art documentation, and 

information access. 

WILL PHILLIPS 

BS, Haverford College, has over thirty years of 

practical experience as an arts management 

consultant. In the past fifteen years his work has 

focused on broad scale organisational change 

projects and developing internal change agents. 

He is a master facilitator and runs regular 

workshops for training arts and industry leaders. 

Phillips is the author of Responsible Managers Get 

Results, published by the American Management 

Association, and Institution-Wide Change in 

Museums. 

ANDRÁS SZÁNTÓ 

PhD, Columbia University, is a writer, researcher, 

and consultant whose work spans the worlds of 

art, media, policy, and cultural affairs. He has been 

senior advisor to the Wealth & Giving Forum; the 

Marian and Andrew Heiskell Visiting Critic at the 

American Academy in Rome and a visiting senior 

fellow at the Center for Arts and Culture, an arts 

policy think tank in Washington, D.C. At Columbia 

University’s Graduate School of Journalism, he was 

Director of the National Arts Journalism Programme, 

the premier academic fellowship programme and 

research centre devoted to the advancement of 

cultural journalism. In 2001, he helped establish 

the Transatlantic Forum for Cultural Research at 

UNESCO in Paris. 

ROBERT F. TRENT 

MA, Winterthur Program, University of Delaware, 

and ABD, Yale University is former Curator 

of Furniture at the Winterthur Museum, and 

former Curator of Collections at the Connecticut 

Historical Society. He is presently cataloguing and 

conserving the collection at Chipstone Foundation 

in Milwaukee, Wisconsin. A sought-after consultant 

in historic preservation and reconstruction, Trent 

has provided historical background and oversight 

for reconstruction furnishings and a seventeenth 

century village for movie sets. He has published 

widely on subjects including Gothic Revival 

furniture, Upholstery; Woodworking and Joinery; 

and American furniture of the seventeenth and 

eighteenth centuries. 

19 

ACADEMIC FACULTY


Application Procedures 

20 

APPLICATION 

POSTGRADUATE PROGRAMMES 

All postgraduate programmes (MA, 

Postgraduate Diploma/Graduate 

Certificate) require the completion of a 

BA degree or equivalent. It is suggested 

that those without formal art history 

backgrounds discuss their qualifications 

with the Institute’s Registrar by phone prior 

to submitting an application. Prospective 

students who have an undergraduate 

degree in a subject other than art history 

and no other art background may qualify 

for admission through a satisfactory 

grade in one of the one-semester 

programmes described on pages 8-11. 

In this case, a further application for 

postgraduate study is required. 

Applicants may apply using the form 

provided in this brochure or on-line 

at www.sothebysinstitute.com. An 

application fee of £75 (UK) or $100 (US) is 

required. Enrolment is taken on a rolling 

basis throughout the year. However, we 

encourage those interested to apply at the 

earliest possible date to ensure sufficient 

time for consideration. 

Official transcripts from all undergraduate 

and graduate-level programmes attended 

must be sent directly to the Institute’s 

Registrar from an applicant’s college or 

university and must be received prior to final 

action by the Committee on Admissions. 

ENGLISH LANGUAGE 

Applicants whose first language is not 

English must submit documentation 

of appropriate English proficiency test 

scores. The minimum requirements for 

all postgraduate programmes are fluent 

written and spoken English to British 

Council IELTS level 7 or TOEFL 600 (paperbased 

test) or 250 (computer-based test) or 

equivalent. 

FEES 

Details of fees for all our programmes can 

be found on www.sothebysinstitute.com 

VISITS 

Fees and costs for travel, lodging and 

museum admission arranged as part of a 

postgraduate programme are included in 

the tuition fees. 

PhD 

Applicants should contact the Registrar. 

UNDERGRADUATE PROGRAMMES 

BA (Hons) in Art Design and Business: 

Two A-levels, a high school diploma or 

equivalent. Candidates must also be able 

to satisfy the general admissions criteria 

of the University of Manchester and the 

Department of Art History in the following 

ways: a personal interview with a visual 

component; an ability to write and speak 

English well (Level 7); and a commitment 

to and enthusiasm for empirical, art-object 

study. 

ENGLISH LANGUAGE 

The minimum requirements for the 

BA (Hons) Degree and One-semester 

Programmes are fluent written and 

spoken English to British Council IELTS 

level 6.5 or TOEFL 550 (paper-based test) 

or 230 (computer-based test) or equivalent. 

INTERVIEWS 

All full-time programme applicants 

will be invited to schedule an interview 

with a member of the Institute’s staff 

after receipt of all required application 

materials. Interviews will be scheduled 

by the Admissions Manager in London 

and the Registrars in New York and 

Singapore. Applicants will be contacted 

at the appropriate time to make such 

arrangements. The interviewer will 

assess the candidate’s aptitude for the 

programme, level of English skill and 

commitment to study. 

SCHOLARSHIPS AND 

FINANCIAL ASSISTANCE 

The Institute offers a limited number 

of partial-tuition scholarships based 

upon the student’s academic merit. 

All applications and materials must 

be submitted by 15 April 2007 for 

consideration. Students from the UK may 

be eligible for Career Development Loans. 

Further information about these can be 

found at: www.lifelonglearning.dfes.gov. 

uk/cdl/ or contact the Registrar for further 

information. 

US and Canadian students can apply 

for an International Student Loan via 

the International Education Finance 

Corporation at www.IEFC.com or by 

contacting the Registrar’s office at the 

number listed above. 

You may also apply for a Sallie Mae loan 

by visiting the website at 

www.slmfinancial.com or by phoning 

toll free at 1-888-2SALLIE (272-4665). 

Further details of scholarships and loan 

programmes are provided on our website, 

www.sothebysinstitute.com 

CONTACT DETAILS IN LONDON 

Venetia Hill-Perkins, Registrar 

v.hill-perkins@sothebysinstitute.com 

Tel: +44 (0)207 462 3201 

Jane Tobin, Admissions Manager 

j.tobin@sothebysinstitute.com 

Tel: +44 (0)207 462 3219 

General Enquiries 

Tel: +44 (0)207 462 3232 

CONTACT DETAILS IN NEW YORK 

Helen Watson, Registrar 

h.watson@sothebysinstitute.com 

Tel: +1 (212) 517 2871 

Warren Winegar 

Associate Director of Admissions 

w.winegar@sothebysinstitute.com 

Tel: +1 (212) 517 2830 

General Enquiries: +1 (212) 517 3929 

CONTACT DETAILS IN SINGAPORE 

General Enquiries: +65 6344 4300 

international@lasallesia.edu.sg 

ACCOMMODATION 

MA DEGREE AND POSTGRADUATE DIPLOMA/ 

GRADUATE CERTIFICATE PROGRAMMES/ 

BA AND SEMESTER PROGRAMMES 

Although the Institute does not arrange 

accommodation on behalf of students, 

our staff are available for consultation. 

We provide a comprehensive 

accommodation list to registered 

students. This list includes a broad range 

of options to choose from, including flats 

(apartments) and bed-sits (studios). It is 

usually possible to rent for a fixed period, 

i.e. six months or less. 

ACCURACY OF INFORMATION 

The information given in this publication is as far 

as possible accurate at the date of publication. 

The degree and diploma programmes and the 

options available within them are those that 

Sotheby’s Institute of Art expects to provide 

during the sessions to which the publication 

relates. However, all programmes are subject 

to change without notice, in accordance to 

the principles outlined on our website at www. 

sothebysinstitute.com. 

Sotheby’s Institute of Art is an educational 

institution that is a division of Cambridge 

Information Group. Its constitution dictates that it 

cannot distribute its profits and that any surplus 

must be reinvested in empowering its educational 

facilities. For this reason, VAT (Value Added Tax) is 

not chargeable on programme fees. 

All decisions on admissions taken by the Institute 

are taken in good faith on the basis that ALL 

the information provided by the applicant is 

accurate and complete. If the Institute discovers 

that the applicant has made a false statement or 

has omitted significant information it reserves 

the right to refuse admission or terminate the 

student’s attendance. Whilst every effort is made 

to ensure that each programme runs according 

to plan, Sotheby’s Institute of Art reserves the 

right to change, alter or cancel advertised 

programmes as a result of circumstances 

beyond its control.

SOTHEBY’S INSTITUTE OF ART IS A DIVISION OF CAMBRIDGE INFORMATION GROUP 

SOTHEBY’S INSTITUTE OF ART–LONDON: 30 BEDFORD SQUARE, BLOOMSBURY, LONDON, WC1B 3EE 

SOTHEBY’S INSTITUTE OF ART–NEW YORK: 1334 YORK AVENUE, NEW YORK, NY 10021 

SOTHEBY’S INSTITUTE OF ART– SINGAPORE: LASALLE-SIA COLLEGE OF THE ARTS, 90 GOODMAN ROAD, SINGAPORE 439053 

TEL UK: +44 (0)20 7462 3232 TEL US: +1 (212) 517 3929 TEL SINGAPORE: +65 6340 9499 

WWW.SOTHEBYSINSTITUTE.COM

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