Membership and terms of reference of the Committee
The Committee consists of eight permanent members, seven of whom have particular expertise in one or more subject areas such as paintings, furniture, and manuscripts, and a Chair. Its terms of reference are as follows:
- To advise on the principles which should govern the control of export of objects of cultural interest under the Export Control Act 2002 and on the operation of the export control system generally;
- To advise the Secretary of State on all cases where refusal of an export licence for an object of cultural interest is suggested on grounds of national importance;
- To advise in cases where a special Exchequer grant is needed towards the purchase of an object that would otherwise be exported.
Current Reviewing Committee Membership
Andrew Hochhauser KC (incumbent Chair)
Andrew Hochhauser is a KC at Essex Court Chambers, a Deputy High Court Judge, a Fellow of the Chartered Institute of Arbitrators, Hon Counsel to the Dean and Chapter of Westminster Abbey and a Fellow of the Royal Society of Arts. He specialises in commercial and employment litigation.
As well as a LLM from the LSE, he has an MA from the Courtauld Institute of Art, where he studied British Modernism.
He is a former Trustee of the V&A, a Bencher and (in 2021) the former Treasurer of the Hon Soc of Middle Temple, Chair of the Samuel Courtauld Trust and an ex officio member of the Board of the Courtauld Institute of Art, Chair of Paintings in Hospitals (until January 2023), a Governor of the University of the Arts London, a Trustee of the National AIDS Trust, the V&A Foundation, the Aurora Orchestra, Orchestra for the Earth and a Director of Ensemble Plus Ultra. He was Chair of Dance Umbrella from 2007-2014 and thereafter a Governor of the Central School of Ballet. He is currently on the Board of Ballet Black.
Dr Tim Pestell
Dr Tim Pestell is the Senior Curator of Archaeology at Norwich Castle Museum and Art Gallery, part of Norfolk Museums Service. He studied Archaeology at Cambridge followed by a PhD at the University of East Anglia, looking at the foundation of medieval monasteries in East Anglia and then worked professionally in field archaeology across the UK before becoming a curator.
Pestell is a Fellow of the Society of Antiquaries and has served as board member on various bodies including the Treasure Valuation Committee for ten years, Bury St Edmunds cathedral’s Diocesan Advisory Committee and various local and national archaeological society committees.
Specialism on the Committee: Archaeology and early medieval material culture.
Professor Mark Hallett
Mark is Director of the Paul Mellon Centre for Studies in British Art. He oversees all aspects of the Centre’s activities, ensuring that it supports the most original and rigorous research into the history of British art and architecture.
Hallett’s scholarly research has focused on British art from the seventeenth century onwards. The many books he has written and edited include the prizewinning Reynolds: Portraiture in Action (2014). Hallett also co-edited the major online publication, The Royal Academy Summer Exhibition: A Chronicle, 1769–2018 (2018).
Professor Hallett has also been involved in curating numerous exhibitions. These have included the 2007 Tate Britain exhibition Hogarth, the 2015 Wallace Collection exhibition Joshua Reynolds: Experiments in Paint, and two 2018 exhibitions: the Royal Academy exhibition The Great Spectacle: 250 Years of the Summer Exhibition, and the Yale Center for British Art’s George Shaw: A Corner of a Foreign Field. Hallett has been the recipient of a Leverhulme Research Fellowship and a Mellon Senior Fellowship. He has been Visiting Scholar at Pembroke College, Cambridge (2013–14) and a Visiting Professor at the Courtauld Institute of Art (2014–16).
Specialism on the Committee: History of British Art
Pippa Shirley read History at Oxford before an MA in Art History at the Courtauld Institute, London. She worked in publishing as a Commissioning Editor for the Grove Dictionary of Art, then went to the British Museum as a curator in the then Department of Medieval and Later Antiquities. In 1992 she moved to the V&A as a curator in the Metalwork, Silver and Jewellery Department, specialising in decorative ironwork and English and continental silver, working on three major gallery projects to redisplay the National Collections of ironwork and silver.
In 2000 she came to Waddesdon Manor as Head of Collections, where she leads the curatorial team responsible for the contents of one of the most important National Trust properties in the country, home to a spectacular ensemble of continental decorative arts and English, French and Netherlandish paintings created by four generations of the Rothschild family. In 2015 oversight of the Gardens was added to her role. The Manor is managed today by a charitable trust, The Rothschild Foundation, under the direction of Lord Rothschild. She has published and lectured on a range of subjects. She also represents Waddesdon across different media channels for both press and marketing and in her curatorial role.
Specialism on the Committee: Fine and decorative arts and the history of collections/collecting
Peter Barber (one of the two vacancies to be filled is created by this member’s departure)
Former Head of Cartographic and Topographic Materials at the British Library. He is a Vice President of the Hakluyt Society and a Trustee of the Hereford Mappa Mundi Trust. He is a Council Member of the Society of Antiquaries’ Library and Collections Committee, and a past Council Member of the Royal Numismatic and British Art Medal Societies. He has recently been appointed a Visiting Professor in the Department of History at King's College London and has been elected President of the Hornsey Historical Society. He is also a board member of The Lauderdale House Society Ltd.
Specialism on the Committee: Manuscripts and archives.
Christopher Rowell (one of the two vacancies to be filled is created by this member’s departure)
Chief Curator at the National Trust. He is Chairman of the Furniture History Society and a Fellow of the Society of Antiquaries. He has published widely, mainly on country house collections, the display of art, and furniture. Shortlisted for the William MB Berger Prize for British Art History 2014, and has also contributed to Hardwick Hall: A Great Old Castle of Romance (2016), the second book in this series on the Trust’s most significant houses, which is published by Yale University Press for the National Trust and the Paul Mellon Centre for Studies in British Art.
Specialism on the Committee: Furniture and historic houses.
Christopher Baker is Director of European and Scottish Art and Portraiture at the National Galleries of Scotland (NGS). He is responsible for the collection and programme at the National and Portrait Galleries in Edinburgh and has been a Visiting Fellow at the Yale Center for British Art. Before moving to Scotland in 2002 he worked at Christ Church, Oxford, and the National Gallery in London. Christopher is a member of the Spoliation Advisory Panel, the Recognition Committee (Museums Galleries Scotland), and the jury for the ‘Portrait Now’ international prize (Danish Museum of National History).
He has organised numerous exhibitions in the U.K. and internationally on aspects of British art pre-1900, drawings and watercolours, and old master paintings. His publications include: J. M.W. Turner: The Vaughan Bequest (2019); Landseer: The Monarch of the Glen (2017); Jean-Étienne Liotard (2015, co-author); John Ruskin: Artist and Observer (2014, co-author); Catalogue of English Drawings and Watercolours 1600-1900, National Gallery of Scotland (2011); Collecting Prints and Drawings in Europe, c.1500-1800 (2003, co-editor); and The National Gallery [London] Complete Illustrated Catalogue, (1995, co-author).
Specialism on the Committee: European and British Art, Scottish Collections.
In 2018 Stuart set up his own firm dealing in European Sculpture from the late Mediaeval period to Rodin based in St James’s, London and has since sold a number of works of sculpture to US and UK museums.
Upon graduating from the Courtauld Institute of Art in 1994 Stuart Lochhead joined Daniel Katz at his newly opened gallery in Jermyn Street. In the following years Stuart mounted numerous exhibitions in New York and London on European Sculpture. He organised three major loan exhibitions at the gallery on Renaissance and Baroque bronzes from The Ashmolean Museum, Oxford, The Fitzwilliam Museum, Cambridge and the Rijksmuseum, Amsterdam. Stuart was formerly on the board of the Public Monuments and Sculpture Association, The Sculpture Journal and Chairman of the Courtauld Association.
Specialism on the Committee: The Art Market and European Sculpture.