RAM’s 10th Annual Conference

Georgina has spent many decades writing about the art market and the arts in general. 

She is editor-at-large for The Art Newspaper and a contributor to the Financial Times. She has written two books about the art market – Big Bucks (Lund Humphries, 2014) and Dark Side (Lund Humphries, 2018) and a third book, The Rise and Rise of the Private Art Museum (Lund Humphries and Sotheby’s Institute of Art, 2021). 

Her fourth book, Next Gen Collectors and the Art Market, will appear in March 2026. 

Anne Laure Bandle is a partner at the law firm Borel & Barbey in Geneva where she mainly advises clients on a wide range of issues relating to works of art, including transactions, cross-border movements, due diligence, exhibitions and copyright. She also practices law on matters related to intellectual property, contracts, estate planning and foundations.

Anne Laure is a lecturer in copyright, art and entertainment law at the University of Fribourg, Switzerland, a lecturer in art and philanthropy at the University of Geneva and a guest lecturer in cultural heritage and art law at the London School of Economics and Political Science (LSE).

Moreover, Anne Laure is the director of the Art Law Foundation, a foundation that aims to promote and coordinate the work and research in the field of art law. In particular, it supports the research and teaching activities of the Art-Law Centre.

Anne Laure is a member of the Task Force and Advisory Board of the Responsible Art Market Initiative (RAM) and sits on the Board of the Professional Advisors to the International Art Market (PAIAM), the board of Fotostiftung Schweiz and the board of FONDAMCO, the public foundation of the Museum of modern and contemporary art Geneva (MAMCO).

She holds a PhD in law from the University of Geneva. Together with Marc-André Renold, she wrote a reference work on art law and cultural heritage law (“Droit de l’art et des biens culturels“) published with Helbing Lichtenhahn in 2022. Anne Laure has been recognized as an expert in the field of art and cultural heritage law by Chambers and Partners each year since the beginning of the ranking in 2019.

Cécile has been Senior Legal Counsel in Christie’s legal team, based in Paris, since 2023. She focuses on art market law and regulation and she developed a particular focus on Cultural property rules and regulations.  

Before joining Christie’s, Cécile was an attorney at the Paris Bar for almost 10 years. She worked in the litigation & commercial arbitration departments of Cleary Gottlieb Steen & Hamilton and Orrick Herrington & Sutcliffe, focusing on civil, commercial, and M&A litigation, as well as regulatory enforcement, and criminal law. More recently, Cécile was the Global Head of Allianz Trade legal team, based in Paris, for a year. 

Cécile is a graduate in French Law from Panthéon-Assas University, and in Common Law from University College Dublin. She also holds an LL.M. from The London School of Economics and Political Science.    

© Matthew Donaldson

Martine d’Anglejan-Chatillon is a leading figure in the international contemporary art world.

She co-founded Thomas Dane Gallery, London, in 2004, where she was Partner for twelve years. There she worked with international collectors, advisors, auction houses and museums and represented world renowned artists including Steve McQueen, Lynda Benglis, Hurvin Anderson, Glenn Ligon, and many more.

Today, as founder and CEO of MDAC Productions, London, she delivers groundbreaking projects with celebrated international artists, many involving advanced technology. MDAC functions transversally, frequently collaborating with partners from art-adjacent worlds – cinema, tech, fashion, music and academia.  She continues to advise a handful of collectors and acts as strategy consultant for Kodex, a new transaction infrastructure enabling the art market to meet the legal, professional and commercial norms expected today.

d’Anglejan-Chatillon’s early career was spent in philanthropy and sponsorship at the National Gallery, London and in managing international cultural projects for the Rothschild Foundation.

She is a Trustee of Somerset House and sits on the board of AI21C (Art Institutions of the 21st Century). She has served on the boards of the Felix Trust for Art, the Film & Video Umbrella, and the development boards of The Showroom, London and the ICA.

A French expert in the art market, with experience ranging from contemporary art issues to those related to cultural property and heritage, Gaëlle de Saint-Pierre’s background in the art world initially focused on legal and fiscal matters (such as Tax Guide for global collector 2015 – the European VAT reform between 2023 and 2025). 

She then expanded her expertise to a broader level in the governance of cultural institutions, providing services to the Fondation des Artistes, the Rodin Museum, the American auction house Sotheby’s, and the French Professional Committee of Art Galleries, where she served as co-general delegate. In this capacity, she worked with French, European, and international public stakeholders on a range of critical issues for the art sector, including intellectual property, the international circulation of artworks, professional ethics, anti-money laundering, and the structuring and professionalization of the sector. 

Currently working for the French Ministry of Culture, she implements cultural policy in support of contemporary creation, targeting artists as well as professionals within the ecosystem, particularly through the National Council of Visual Arts Professions (CNPAV), an official body for dialogue and consultation—with the private sector as well as other ministries and decentralized bodies—which she leads within the Ministry’s Directorate General for Artistic Creation. Within this framework, as part of the Visual Arts Economics and Foresight unit, she works to better equip the sector on issues such as generative artificial intelligence, the ecological transition, a fairer distribution of value within the artistic creation sector, and improved respect for copyright, placing artists at the heart of these concerns.

Edward stepped down as Chairman and CEO of Phillips in June last year to become a founder of New Perspectives Art Partners – a global art consultancy.

Prior to Phillips, Edward was Director of the Office of Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al-Thani, Chairperson of the Qatar Museums Authority, and was later appointed Acting Chief Executive Officer of the Qatar Museums. He managed the development of Qatar’s ambitious program for the cultural sector.

Preceding his time in the Middle East, Edward enjoyed a 27-year career at Christie’s, including 11 years as the auction house’s Chief Executive and eventually rising to Chairman of the Board of Christie’s International. He oversaw several groundbreaking auctions, including 2001’s Gaffé Collection, sold on behalf of UNICEF and representing its single largest donation; the2006 sale of five works by Gustav Klimt, restituted by the Austrian State to Maria Altmann and her family; and the Yves Saint Laurent sale in 2009.

Edward has been awarded the Légion d’Honneur as Chevalier and later elevated to the distinguished position of Officier de la Légion d’Honneur. He has also served as a board member of several organizations, including the International Advisory Board of Qatar Museums, the Governing Board of the Courtauld Institute and the Seoul International Business Advisory Council. 

Mathilde is General Counsel, at PHILLIPS Auctioneers.  She combines her passion for art and law by overseeing the legal aspects of PHILLIPS’ activities in the UK, Europe, Middle East & Asia and as a member of PHILLIPS’ Fiduciary Services team.  

She helped launch the Responsible Art Market Initiative (“RAM”) in 2017 and is a member of RAM’s Advisory Board and Task Force. She also leads RAM’s London Committee.

Dual qualified in English and French law and having worked in London, Hong Kong, Paris and Geneva, Mathilde has a unique, international knowledge of art law and the art market. Senior legal counsel at Christie’s for 7 years, during her time in Asia, Mathilde was involved in establishing Christie’s auction and private sale operations in mainland China. Based in Paris in 2015 she worked on the joint acquisition by the French Republic and Dutch State of two portraits by Rembrandt, the first joint acquisition of artwork by two States.  

In 2017 Mathilde founded an art law consultancy combining this with research and teaching at the University of Geneva’s Art-Law Centre.

Before moving into art law, Mathilde was a Legal Director at the law firm DLA Piper specializing in intellectual property, technology and commercial law. 

Art Market Adviser and Authentication Specialist. Jen Holdsworth is a Non-Executive Director of DACS and a Board Member of Whitechapel Gallery. She established and led Banksy’s Authentication Board from 2008 to 2025 and previously served as a Director of Pest Control Office Ltd from 2019-2025.

Dr. Roman Kräussl is Professor of Finance at Bayes Business School (formerly Cass), City, University of London. He is also Research Fellow at the Centre for Economic Policy Research (CEPR) and Research Fellow at the Center for Financial Studies (CFS), Frankfurt. He spent over 8 years as a Visiting Fellow at the Hoover Institution at Stanford University, He received his PhD in Financial Economics from Goethe-University, Frankfurt. 

His research focuses on Alternative Investments, including private equity, infrastructure, art, and green finance. When he engages with the industry, he mostly consults on art as an asset class, dealing with valuation of artworks and construction of art market indices. His work analyzes the market performance of art and of individual artists in order to help investors evaluate and optimise different portfolio allocations. 

He regularly writes for Manager Magazin, the leading German monthly business magazine, on art as an investment. His academic research has been published in leading economic journals such as The Journal of Finance, The Review of Financial Studies, and Management Science. Some of his research has been featured in the Wall Street Journal, the Financial Times, The Economist, the New York Times, Forbes’ Annual Investment Guide, Fortune, the Guardian and on CNBC. 

In addition to this experience, he has taught numerous Executive MBA courses at the Amsterdam School of Finance at VU University Amsterdam, at the Goizueta Business School at Emory University, Atlanta, USA, and at Bayes Business School. He has recently developed the Art & Finance Executive Teaching Program in cooperation with Christie’s Education London. 

Sylvain Lévy is a Paris-based French art collector who co-created the DSLcollection with his wife Dominique in 2005. The couple has been collecting art for over 40 years, evolving from European art and design to a focused engagement with Chinese contemporary art. 

The DSLcollection is a tightly curated ensemble of around 350 works by approximately 200 artists, centered on Chinese contemporary art from the 1990s onward. The collection functions as a narrative of China’s cultural, social, and geopolitical shifts, using artworks as lenses onto the country’s emergence on the global stage.

From 2005, Lévy embraced a digital-first approach, transforming the DSLcollection into one of the pioneering virtual museums dedicated to contemporary art. The collection has been presented through virtual reality, 3D environments, and video game worlds, expanding access far beyond the traditional white cube. This digital strategy turns each exhibition into an experiment in how audiences encounter, navigate, and interact with art in dematerialized spaces.

Over time, the DSLcollection has evolved from a private collection into a platform of ideas, where art becomes a starting point for dialogues on technology, globalization, and the future of institutions. Lévy positions the collection as a laboratory, collaborating with curators, researchers, and students to test new models of education, mediation, and cultural engagement. Co-developed with their daughter Karen, the project now operates as an intergenerational think tank that uses Chinese contemporary art to rethink what a collection, a museum, and a public can be in the 21st century.

Stephen has over 22 years experience as an Art Advisor, and has helped build substantial collections for a diverse international client base across a variety of genres (from Impressionist to Post-War/Contemporary).

Stephen started his career at a blue-chip gallery in London where he worked across all four of their locations and helped run the sales team.

After 11 years, he moved on to work as an independent advisor for a further 5 years. Today he is Head of Sales for a prestigious Art Advisory / Dealership where he focuses on a variety of Blue-Chip artists and continues to service his longstanding clients and assists new ones in building collections that can perform commensurate with UHNW’s other asset investments.

Nicholas M. O’Donnell is an attorney in Boston and New York and the leader of the firm’s Art & Museum Law practice group, as well as the co-chair of RAM’s New York chapter. 

He has served as lead counsel for museums, dealers, auction houses, and collectors worldwide about restitution, copyright, and de-accessioning issues, including an argument before the Supreme Court of the United States in 2020. He is the author of numerous books, articles and papers on the subject of art disputes and regulation, including A Tragic Fate—Law and Ethics in the Battle Over Nazi Looted Art (2017), the first comprehensive overview of disputes in the U.S. over Nazi-looted art.

PRIEST’s satirical style contrasts playful, innocent imagery with dark, subversive subject matter. His compositions are bright and colorful, combining nostalgic cartoons, video games, and street art in a tongue-in-cheek critique of capitalism and corporate culture. Toys feature heavily in his practice, the word doubling as graffiti slang for inexperienced painters while also emphasizing the element of play central to his approach. As PRIEST puts it, each project is a ridiculous idea taken much further than it should have been. 

With roots in illegal graffiti, PRIEST pivoted to a formal fine art practice in 2019 following legal repercussions. This transition saw his work evolve from ephemeral street-based interventions into labor-intensive studio paintings and large-scale conceptual installations. Since his public debut in 2019, he has held solo exhibitions across London, Melbourne, Los Angeles, New York, Milan, and Venice. PRIEST is currently presenting a solo exhibition at the Saatchi Gallery titled “PAPER CUT.” The show leans into the absurdity of the “high art” environment by filling the polished gallery space with scaled-up versions of schoolroom crafts. By presenting monumental works made from macaroni, popsicle sticks, and pipe cleaners, PRIEST uses the language of childhood play to deliver a sharp, subversive commentary on the complexities of adult life and the contradictions of the art world as a whole.

James Willington is the International Group Finance Director at Gagosian. 

Established by Larry Gagosian in Los Angeles in 1980, Gagosian is a global gallery specialising in modern and contemporary art at eighteen exhibition spaces across the United States, Europe and Asia. Gagosian works with a diverse array of marquee living artists and has also presented unparalleled museum-quality exhibitions of works by historical artists.

James joined Gagosian in 2007 and is based in London at their gallery on Grosvenor Hill. James focuses on the financial, fiscal and compliance management of the European and Asian galleries. Prior to joining Gagosian, James trained and worked at PricewaterhouseCoopers.James is the Finance Trustee of Hospital Rooms, an arts and mental health charity, and a director of London Gallery Weekend. He is a member of the networking platform, PAIAM (Professional Advisors to the International Art Market) and an associate of the ICAEW (Institute of Chartered Accountants in England and Wales). He has a BA degree in Latin and an MA degree in Roman Myth and History.