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Sue was the founder of The Art Book (published by the Association of Art Historians and Wiley Blackwell) and was its executive editor for nearly 20 years. She recruited around 500 contributors during that period, enabling her to place virtually any book with a suitable expert for review and ensuring a flow of articles on a multitude of subjects. In addition, over the years Sue has herself interviewed many prominent figures in art and art publishing and is often the first person aspiring authors of art historical titles turn to for help with finding a publisher. Sue has a background in advertising and teaching. In advertising she specialised in international marketing and her main clients were Renault Paris, and the Boeing Corporation Seattle.  She has taught History and English at A level. Sue has a BA Hons, a PGCE and an MA in Visual Culture.  She is a member of the Association of Art Historians.

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Frances is an independent art historian who has worked with a variety of clients on publication production, through her company Genesys Consultants Limited and its predecessor, Genesys Editorial Limited. Frances has worked closely with Sue Ward for over 15 years. She has over 30 years of publication production and editorial experience and holds BA and PhD degrees in art history, a BSc in Biology and the CAM Diploma in Marketing and Advertising. Her book, Embodied Visions: Bridget Riley, Op Art and the Sixties was published by Thames and Hudson in 2004. Frances has had essays published in exhibition catalogues, The Art Book magazine and The Burlington Magazine. She is a member of the Association for Art History and has served as a trustee of the Association.

See http://cassone-art.academia.edu/FrancesFollin

http://www.aah.org.uk

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Patricia Allmer is senior research fellow in art history and theory at MIRIAD, Manchester Metropolitan University. She was curator of the award-winning exhibition, ‘Angels of Anarchy: Women Artists and Surrealism’ (Manchester Art Gallery, Sept 2009– January 2010). Patricia is author of René Magritte: Beyond Painting and is co-editor of a number of books and special issues of academic journals on surrealism and art theory. She is a member of the Association of Art Historians www.aah.org.uk

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Anthea Callen is Professor of Art (Practice-led Research) in the School of Art, College of Arts and Social Sciences, Australian National University, Canberra. She is also Professor Emeritus of Visual Culture at the University of Nottingham, and Honorary Research Associate at the Institute of Health, University of Warwick. Callen is a scholar and a painter. Her expertise in art history, visual culture and the gender politics of visual representation spans the eighteenth to twentieth centuries, notably in France and Britain; her research specialism in nineteenth-century artists' materials and techniques means she works regularly with museum conservators and curators. As a painter she has a strong personal and professional interest in 20^th-century modernism and contemporary art, especially feminist/women's art practice. Recent books include The Art of Impressionism: Painting Technique and the Making of Modernity (Yale University Press, 2000) and Art, Sex and Eugenics: Corpus Delecti, co-edited with Fae Brauer (Ashgate, 2009), winner of the AAANZ Book Anthology Prize 2009. She is a member and past Chair of the Association of Art Historians.

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Veronica Davies is an art historian who has worked since 1999 as a lecturer and tutor for the Open University, teaching a wide range of courses at all levels. She has extensive experience of teaching adult learners from many walks of life.  She has an MA from Oxford Brookes and a PhD from the University of East London, and her specialist area of interest is in British and German art and art institutions in the 1940s and 1950s, and more generally, in European art and art exhibitions in the 20th century. Veronica is a member and trustee of the Association of Art Historians (AAH) and was Hon Secretary of the Association from 2010–13. She currently chairs the AAH's  Independents and Freelance group. Formerly a regular reviewer for, and editorial board member of, The Art Book, she also helped co-ordinate The Art Book Award.  She is now enjoying the opportunity to forge a similarly close relationship with Cassone.

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Having spent her early career in healthcare and management Sue decided to turn her passion for art into a career. After studying Art History at the Sainsbury Institute for Art at the University of East Anglia, Norwich where she won the Arthur Bachelor award for her dissertation on the Norwich School, she went on to postgraduate studies at University College London. While an undergraduate Sue was involved in a collaborative project with the Tate Gallery at Norwich Castle Museum involving the collection of Norwich School paintings. A freelance writer who makes regular contributions to a number of art publications including Cassone,  Sue has also published in the World Art Journal and is a member of the Association of Art Historians.

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Julian Freeman is an art historian, specializing in British art and in the interrelationships between war and the arts. As exhibition officer at Brighton Polytechnic Gallery (1979-89), and afterwards as an independent curator, he has developed many ground-breaking exhibitions devoted to aspects of historical British art, and has collaborated on other projects at international level: his Landscapes from a High Latitude: Icelandic Art 1909–1989 was unique in Britain and Iceland at the time. As a critic, Julian was for some years a regular contributor to Apollo, to The Art Book, and, less frequently, an exhibition and book reviewer for The Burlington Magazine. Currently acting course leader for Access to Higher Education at Sussex Coast College, Hastings, Julian is also a visiting lecturer to the University of Brighton’s School of Historical & Critical Studies. His book, British Art: A walk round the rusty pier, was published in 2006 by Southbank.

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Darrelyn Gunzburg is a teaching assistant for the Department of History of Art, University of Bristol, as well as a part-time tutor for the MA in Cultural Astronomy and Astrology at The University of Wales Trinity Saint David, UK. She holds a BA (Hons) from the Open University (Art History), and a Diploma of Directing from NIDA (National Institute of Dramatic Art) at the University of New South Wales, Sydney, Australia. Her academic publications are: 'Looking Back: The transgression of social codes explored through the direct gaze in Fra Angelico’s San Marco Altarpiece when compared with Madonna and Child with Eight Saints', St Andrews Journal of Art History and Museum Studies (2010) and ‘How Do Astrologers read Charts? in Astrologies: Plurality and Diversity, edited by Nicholas Campion and Liz Greene, Ceredigion: Sophia Centre Press, University of Wales, Trinity Saint David, 2011. Darrelyn has co-convened two conferences at The University of Bristol: Imagining Astrology: Painted Schemes and Threads of the Soul, University of Bristol (2010) and Heavenly Discourses: Myth, Astronomy and Culture, University of Bristol (2011), publications for both of which are forthcoming. From 2007 – 2010 she was a regular writer for The Art Book (Wiley-Blackwell)  and has been an editorial board member and writer for Cassone since its inception (May 2011). Darrelyn is currently reading for her doctorate in the History of Art at the University of Bristol (anticipated completion October 2013). Her research interests lie in the art historical and visual astronomical exploration of frescos and sculpture in mediaeval Italy, as well as how, in contemporary western astrology, meaning is derived from natal horoscopes.

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Tom Huhn is the chair of the Art History and BFA Visual and Critical Studies Departments at the School of Visual Arts in New York City.  He received a PhD in Philosophy from Boston University.  His books include: Imitation and Society: The Persistence of Mimesis in the Aesthetics of Burke, Hogarth, and Kant; The Cambridge Companion to Adorno; The Wake of Art: Criticism, Philosophy, and the Ends of Taste; and The Semblance of Subjectivity: Essays in Adorno's Aesthetic Theory.  His publications include: New German Critique, Art & Text, Oxford Art Journal, British Journal of Aesthetics, Art Criticism, Telos, Eighteenth-Century Studies, Journal of Aesthetics and Art Criticism, Oxford Encyclopedia of Aesthetics, Philosophy and Social Criticism, Art Book. Tom Huhn has been a Getty Scholar and Fulbright Scholar.

His curatorial works include: ‘Ornament and Landscape’ at Apex Gallery; ‘Still Missing: Beauty Absent Social Life’ at the Visual Arts Museum and Westport Arts Center; and ‘Between Picture and Viewer: The Image in Contemporary Painting’ at the Visual Arts Gallery, NYC.

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Elizabeth Rankin is professor of art history at the University of Auckland, New Zealand. Previously a professor at the University of the Witwatersrand, Johannesburg, she has devoted much of her research, writing and curating to the work of South African artists who had been overlooked in the past. This work developed her interest in informal art education and in cross-cultural exchanges in studios and workshops, as well as strategies of representation in galleries and museums. Often working in partnership with other writers, as well as with the artists themselves, she has given particular attention to the relatively neglected media of sculpture and printmaking, and has enjoyed extending her work to include artists working in these areas in New Zealand. Her most recent books are Listening to Distant Thunder: The art of Peter Clarke,with Philippa Hobbs in South Africa, and Fiona Pardington: The pressure of sunlight falling, co-edited with Kriselle Baker in New Zealand, both appearing in 2011.

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Larry Silver is Farquhar Professor of Art History at the University of Pennsylvania. He previously taught at Berkeley and Northwestern, and is a specialist in Northern old master art from Germany and the Netherlands. His most recent books include Hieronymus Bosch (2006), Peasant Scenes and Landscapes (2006), Marketing Maximilian (2008), and Rembrandt's Faith (2009; with co-author Shelley Perlove).  He has also written a survey text, Art in History (1993), as well as a Jewish art overview, Jewish Art: A Modern History (Reaktion, 2011, with co-author Samantha Baskind).  He has served as president of the College Art Association (CAA) and as editor of its online journal, caa.reviews.

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Rosa Somerville is a guide/lecturer at the Wallace Collection and has worked as a guide at the Tate, Dulwich, and Kettle's Yard since 1976. She holds an honours degree in arts subjects from the Open University.  She met her husband, Stephen Somerville, while both were working  at Sotheby's in 1965 and together they run an art consultancy in London.

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Stephen Somerville joined Sotheby’s Department of Prints and Drawings in 1963 and was head of the Print Department Sotheby Parke Bernet (New York ) 1965–7. He joined Colnaghi to head its  British Painting and Drawing Department 1967–75, moving to Somerville and Simpson 1975–88. Stephen has worked as an art dealer and more recently as an art adviser from 1988 onwards, managing and advising a number of collectors and collections.

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Digital marketing consultant Ann Bach directs Cassone's Facebook page. She contributed to The Art Book for eight years before joining the Cassone team. A US writer, artist and performer based on the East coast, Bach brings more than 20 years experience to the table, developing and implementing social media strategies for clients in the for-profit and non-profit sectors. Previous clients include international healthcare architects Payette Associates. Her paintings have been exhibited at Pfizer pharmaceutical's research headquarters and she has performed at the Tony Award-winning O'Neil Theater Center. Ann can be reached at [email protected][email protected]