This one-day conference addressed the issue of connoisseurship in relation to historic, modern and contemporary British art studies. Speakers from different spheres - art dealers, museum curators, conservators, arts journalists, and academics - gave 'position papers' based on their own professional perspectives and experiences of the role and relevance of connoisseurship in today's art world. Issues explored include the question of the 'eye'; the value of technical knowledge and the role of conservation; the role of connoisseurship in the marketplace, including questions of attribution and market value; connoisseurship and collecting; connoisseurship and art theory; connoisseurship and art-historical scholarship; and connoisseurship's relevance to contemporary
Welcome and Introduction, Mark Hallett, Director of Studies, Paul Mellon Centre
Paper by Stephen Deuchar, Director, The Art Fund: "Connoisseurship Now: Some Thoughts"
Chair, Emanuele Lugli, Lecturer, The University of York
Paper by Bendor Grosvenor, Director, Philip Mould & Company: "Why Connoisseurship Matters"
Paper by Martin Myrone, Lead Curator, pre-1800 British Art, Tate: "The Limit of Connoisseurship"
Panel chaired by Mark Hallett.
Paper by Hugo Chapman, Keeper and Curator, Department of Prints and Drawings, The British Museum: "Dodging the label connoisseur from Christie’s to the British Museum"
Paper by Spike Bucklow, Senior Research Scientist, Hamilton Kerr Institute, Fitzwilliam Museum, University of Cambridge: "Connoisseurship, technical knowledge and conservation"
Paper by Liz Prettejohn, Head of Department and Professor of History of Art, Department of History of Art, The University of York: "New Connoisseurship, Old Europe, and the Future of Art History"
Discussion with Liz Prettejohn following her paper.