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Art Law – Members and consultants

What follows is a brief description of members of the Group who have experience in the field of Art Law. For the full CVs please go to the Members and Consultants sections of the website.

Professor Marc-André Renold (Switzerland)
Marc-André Renold is Professor of art and cultural heritage law at the University of Geneva, Director of the Art-Law Centre of the University of Geneva, and holder of the UNESCO Chair on “The International Law of the Protection of Cultural Heritage”
Marc-André is Attorney-at-law, Member of the Geneva Bar, and a partner in Wenger Plattner, based in Geneva. His areas of practice are, among others, art and cultural heritage law, intellectual property, and public and private international law. He heads the IDR Group’s Art Law Section.
Languages: French, English, German, Italian, Russian, Spanish

Dr. Alessandro Chechi
Dr. Alessandro Chechi is a post-doctoral researcher at the Art-Law Centre of the University of Geneva and lecturer in public international law at the Université Catholique of Lille. He is author of the book The Settlement of International Cultural Heritage Disputes (Oxford: Oxford University Press, 2014) and reporter for Italy of the International Law in Domestic Courts – Oxford University Press project (http://opil.ouplaw.com/home/oril).
His fields of research include international cultural heritage law, international dispute settlement and international organizations.

Anne Laure Bandle (Switzerland)
Anne Laure Bandle has co-directed the Art Law Foundation in Geneva since January 2014. She holds a PhD in law from the University of Geneva. She is a guest lecturer in art and cultural heritage law at the London School of Economics and Political Science. She is a member of the IDR Group’s Art Law Section.

Georgina Adam (U.K)
Georgina Adam is a journalist and author who has covered the global art market for over 30 years. She is a contributor to the Financial Times and art market editor-at-large for The Art Newspaper. Her latest book, Dark Side of the Boom: The Excesses of the Art Market in the 21st Century focuses on secretive, behind-the-scenes events. Issues around fakes and forgeries, authentication, over-production and money laundering also figure. Georgina is particularly interested in emerging cultural centres. She lectures at Sotheby’s and Christie’s institutes in London. Georgina joins the Group as a Consultant in the Art Law Section.

Gareth Fletcher (U.K)
Gareth Fletcher is a Lecturer in Art Business at Sotheby’s Institute of Art. He is Co-Unit Leader of the Art Business, Foundations and Placement semester course, leader of the Art Crime summer study course and Co-Leader of the Art and its Markets summer study course. He also lectures on Strategy and Risk Management as part of the Business Management in the Art World Executive Education program; Strategic Planning as part of the Business Management of an Art Gallery program, and the Contemporary Art Market as part of the Frieze Art Fair: Contemporary Art Today program. Gareth joins the Group as a Consultant in the Art Law Section.

Anthony Connerty
Experience of litigation in the English Courts includes cases in which he has been instructed in Art Law disputes.

World –wide Mareva
In all there were three hearings on three separate days in the High Court in London.
The client wished to stop the auction in New York of a work of art. Instructed to apply for an injunction to restrain the sale. The objective of a “Mareva” injunction – now referred to as a freezing order – is to freeze the assets of a Defendant so as stop that Defendant dissipating assets for the purpose of avoiding the enforcement of a court judgment.
Application was made ex parte to a High Court Judge for the Mareva injunction. The Order was granted. The second application was made inter partes: the injunction was continued. Prior to the third hearing, and in breach of a confidentiality provision in the world-wide Mareva injunction, the client had sent information about the Mareva to a New York newspaper. The Judge discharged the injunction.

Michelangelo Bronze
The client purchased what he claimed he had been informed was a “Michelangelo bronze”.
The bronze was sent to various experts around the world for an opinion as to whether the statuette was genuine: could it properly be described as a Michelangelo bronze? Was it worth a considerable sum of money?
Having read the experts’ reports, and viewed the bronze, Connerty advised the client on likely success of litigation. The client decided not to proceed with an action in the English Courts.