Course Description

What is provenance research? How are provenance researchers trained and who do they work for? How can you become one or how can you find one to help you with your research.

Whether you have caught an episode of the famous TV show "Fake or Fortune" on BBC4 or you have watched Hollywood films such as "The Woman in Gold" or the highly inaccurate "The Monuments Men", you might have found yourself wondering what exactly it is that provenance researchers do and how they end up in this line of work.

This introductory course is for everyone looking to work in the art world. It provides essential knowledge about the discipline and gives you the right footing before you can move on to "The Practical How-to Guide".

This focused training will give you access to recorded lectures, transcripts, keynote presentations and one-to-one sessions with the course instructor where you can address anything from curriculum questions to exploring career paths.

Sign up for this course

Meet your Instructor:
Angelina Giovani-Agha

Angelina is an art historian and provenance researcher based in London. She has a BA in Art History from the American College of Greece and a MA in Art Appraisal from Kingston University, London and is also a graduate of the Provenance Research Training Program (PRTP) workshops organised by ESLI and HARP. In the past decade she has worked for the Jeu de Paume database documenting the Cultural Plunder by the Einsatzstab Reichsleiter Rosenberg (ERR), acted as Head of Provenance Research for a bespoke Family Office Art Advisory and advised with private and public institutions on ethical collecting guidelines. She works with private collectors, museums and the art trade to address provenance issues, while simultaneously acting as an Art Business Mentor for Finito. In 2020, Angelina was appointed as a Provenance Research Specialist at CAfA - Court of Arbitration for Art, Hague and in 2022 she launched the Collections Provenance Rating, an innovative tool that assesses the state of documentation of art collections and offers recommendations based on the risk level identified.

She is the Chair of the Art Provenance Symposium and the author of the annual Art Provenance Report.