Katie L. Steiner joined The Frick Collection in 2010 as a Curatorial Assistant. She holds an M.A. in art history from Williams College and a B.A. in art history and English from Case Western Reserve University. She previously held research assistantships in the American Paintings and Sculpture Department at the Metropolitan Museum of Art and at the Sterling and Francine Clark Art Institute. At the Frick, Steiner co-organized, with Nicholas Wise, the exhibition A Passion for Drawings: Charles Ryskamp's Bequest to The Frick Collection (2012) and co-authored a related article for the The Frick Collection Members' Magazine (Winter, 2012). She has also provided curatorial assistance for several recent exhibitions, including Vincent van Gogh’s Portrait of a Peasant (Patience Escalier) (2012), Antico: The Golden Age of Renaissance Bronzes (2012), Picasso's Drawings, 1890–1921: Reinventing Tradition (2011), and The Spanish Manner: Drawings from Ribera to Goya (2010). 

Ellen Prokop is the Associate Photoarchivist at the Frick Art Reference Library. Her most recent publications include "Painting from Memory: A Pietà by Fray Juan Ricci" in Art in Spain and the Hispanic World: Essays in Honor of Jonathan Brown (2010), and "Here One Feels Existence: Isabella Stewart Gardner's Spanish Cloister" in Collecting Spanish Art: Spain's Golden Age and America's Gilded Age (2012). Her current research projects include a book chapter on the critical fortunes of El Greco and an article on early modern Spanish anatomies. She regularly teaches lecture courses and seminars at New York University and Hunter College, City University of New York. Prokop is the editor of the Discoveries in the Photoarchive.

Ian Wardropper is Director, The Frick Collection, New York, and has organized more than twenty exhibitions in his specialties of European sculpture, earlier decorative arts, and twentieth-century design and decorative arts. Recent exhibitions he co-organized at The Metropolitan Museum of Art include Art of the Royal Court: Treasures in Pietre Dure for the Palaces of Europe (2008) and Cast in Bronze: French Sculpture from Renaissance to Revolution (2009). Recent publications include European Sculpture, 1400–1900, The Metropolitan Museum of Art (2011), and Bernini: Sculpting in Clay (2012), a forthcoming exhibition catalogue for the Met and the Kimbell Art Museum.

Esmée Quodbach is the Assistant Director of the Center for the History of Collecting at The Frick Collection. She has authored a number of publications on collectors and collecting and on the taste for seventeenth-century Dutch paintings, Rembrandt in particular. Her publications include an expanded issue of the Metropolitan Museum's Bulletin on the formation of the Metropolitan's collection of Dutch paintings (Yale University Press, 2007) and an essay on Henry Clay Frick as a major American collector of Rembrandts (The Frick Collection, 2011). In 2009, Quodbach was the organizer of a two-day symposium held at the Frick entitled Holland's Golden Age in America: Collecting the Art of Rembrandt, Vermeer, and Hals. She is the editor of a volume of essays with the same title, to be published by Penn State University Press. This will be the first volume of a new series, The Frick Collection Studies in the History of Collecting, which will be co-published by Penn State University Press and the Center for the History of Collecting.

Denise Allen joined The Frick Collection in 2003 and currently holds the position of Curator of Renaissance Paintings and Sculpture. She received her M.A. in art history, with a specialization in Italian Renaissance art, from the Institute of Fine Arts, New York University, in 1983. In 1995, Allen was appointed Assistant Curator in the Department of Paintings at the J. Paul Getty Museum, Los Angeles. While at the Getty, she developed expertise in eighteenth-century pastels and curated exhibitions such as Ercole de'Roberti: The Renaissance in Ferrara (1999) and Greuze the Painter (2002). She has also organized several exhibitions at the Frick, including Willem van Tetrode (c. 1525–1580): Bronze Sculptures of the Renaissance (2003), A Beautiful and Gracious Manner: The Art of Parmigianino (2004), Renaissance and Baroque Bronzes from the Quentin Collection (2004), Renaissance and Baroque Bronzes from the Fitzwilliam Museum, Cambridge (2005), and George Stubbs: A Celebration (2006). She curated and was one of the principal catalogue authors for the exhibition Andrea Riccio: Renaissance Master of Bronze (2008). Most recently, she co-curated and contributed to the exhibition catalogue for Antico: The Golden Age of Renaissance Bronzes (2011–12). 

Nicholas Wise joined the Frick Collection in 2008 as a Curatorial Assistant. He holds a B.A. in Art History from Columbia University and previously served as a Curatorial Assistant at the Whitney Museum of American Art. At the Frick, he has provided curatorial assistance for several exhibitions, including Watteau to Degas: French Drawings from the Frits Lugt Collection (2009–10) and Renoir, Impressionism, and Full-Length Painting (2012). He was part of the editorial team for Fragonard’s Progress of Love at The Frick Collection (Colin B. Bailey, 2011). In 2012, he co-organized A Passion for Drawings: Charles Ryskamp’s Bequest to The Frick Collection with Katie L. Steiner and co-authored its accompanying article for The Frick Collection Members’ Magazine (Winter 2012). 

Joseph Godla is Chief Conservator at The Frick Collection. He studied musical instrument making and furniture making prior to his conservation career. He holds a certificate from the Smithsonian Institution's Furniture Conservation Training Program and an accompanying M.A. from Antioch University. He started his museum career in 1988 at the Society for the Preservation of New England Antiquities (now Historic New England) as a furniture conservator. Between 1991 and 2000, he served as Assistant/Associate Conservator in the Decorative Arts and Sculpture Conservation Department at the J. Paul Getty Museum, Los Angeles. In 2000, he returned to Historic New England to re-establish its conservation program and served there as the Senior Conservator for the next five years. Since joining the Frick Collection in 2005, Joseph Godla has conducted a perspectival study of Bellini's Saint Francis in the Desert, initiated a survey of the Collection's picture frames, and embarked on a technical study of the Frick's French Renaissance furniture, which was the subject of a paper at the International Institute for Conservation's 2012 conference.

Julia Day is Associate Conservator at The Frick Collection and is actively involved with the preservation of the building and its collection of decorative arts and sculpture. She recently completed the treatment of Houdon's life-sized painted terracotta sculpture Diana the Huntress in preparation for its installation in the new Portico Gallery. In 2012, she presented her work on The Frick Collection at two symposia: the French Bronze Symposium in Paris, where she discussed her work on Jehan Barbet's Angel in collaboration with Denise Allen and Stephen Scher, and the ICOM-CC Enamel Group meeting in Barcelona, where she spoke about her treatment of Limoges painted enamels and the renovation of the Enamel Room's historic display cases. She was the local organizer for the ICOM-CC Enamel group meeting held at The Frick in 2010, which welcomed experts from the United States and abroad, and she is currently an assistant coordinator for the group. She was also co-chair of the Nominating Committee for the Objects Specialty Group of the American Institute for Conservation (2009-11). Day received her M.A. and Certificate of Advanced Study in art conservation from the Buffalo State, State University of New York, and was an advanced-level intern in objects conservation at the Straus Center for Conservation, Harvard Art Museums, Cambridge, Massachusetts. Before coming to the Frick in 2008, she held a contract position at the Sherman Fairchild Center for Objects Conservation at the Metropolitan Museum of Art, New York, and has also worked on archaeological projects in Turkey and Peru.

Emerson Bowyer is The Frick Collection's Andrew W. Mellon Curatorial Fellow. A Ph.D. candidate at Columbia University, he is currently writing a dissertation on numismatic representation in nineteenth-century France and is organizing an exhibition on the work of David d'Angers at the Frick. His publications include "Monographic Impressions," in Reconsidering Gérôme (Getty Publications, 2010) and a review of Victor Stoichita's The Pygmalion Effect: From Ovid to Hitchcock (Visual Resources 26:2 [2010]). Most recently, he edited and introduced a special issue of Grey Room (48, Summer 2012. Special Issue, "Multiplying the Visual: Image and Object in the Nineteenth Century"), focused on nineteenth-century technologies of reproduction.

Olivia Powell is an educator and art historian specializing in fifteenth-century Italian art. She joined The Frick Collection in 2011 as the Samuel H. Kress Interpretive Fellow and works closely with the Education and Curatorial staff to conduct research and lead gallery programs. Her teaching responsibilities at the Frick include school visits, docent enrichment seminars, and the Art Dialogues and Gallery Conversations public programs. Additionally, she will teach Columbia University's fall semester undergraduate Arts Humanities course, Masterpieces of Western Art, as well as two classes for college students and recent graduates as part of the Frick Connection program, Topics in Italian Renaissance Art and A Brief History of Landscape Painting. She received her Ph.D. and M.Phil. from Columbia University and her B.A. from the University of California, Los Angeles. Powell has also participated in the Teaching Institute in Museum Education at the School of the Art Institute of Chicago.

Katie L. Steiner joined The Frick Collection in 2010 as a Curatorial Assistant. She holds an M.A. in art history from Williams College and a B.A. in art history and English from Case Western Reserve University. She previously held research assistantships in the American Paintings and Sculpture Department at the Metropolitan Museum of Art and at the Sterling and Francine Clark Art Institute. At the Frick, Steiner co-organized, with Nicholas Wise, the exhibition A Passion for Drawings: Charles Ryskamp's Bequest to The Frick Collection (2012) and co-authored a related article for the The Frick Collection Members' Magazine (Winter, 2012). She has also provided curatorial assistance for several recent exhibitions, including Vincent van Gogh’s Portrait of a Peasant (Patience Escalier) (2012), Antico: The Golden Age of Renaissance Bronzes (2012), Picasso's Drawings, 1890–1921: Reinventing Tradition (2011), and The Spanish Manner: Drawings from Ribera to Goya (2010). 

Ellen Prokop is the Associate Photoarchivist at the Frick Art Reference Library. Her most recent publications include "Painting from Memory: A Pietà by Fray Juan Ricci" in Art in Spain and the Hispanic World: Essays in Honor of Jonathan Brown (2010), and "Here One Feels Existence: Isabella Stewart Gardner's Spanish Cloister" in Collecting Spanish Art: Spain's Golden Age and America's Gilded Age (2012). Her current research projects include a book chapter on the critical fortunes of El Greco and an article on early modern Spanish anatomies. She regularly teaches lecture courses and seminars at New York University and Hunter College, City University of New York. Prokop is the editor of the Discoveries in the Photoarchive.

Ian Wardropper is Director, The Frick Collection, New York, and has organized more than twenty exhibitions in his specialties of European sculpture, earlier decorative arts, and twentieth-century design and decorative arts. Recent exhibitions he co-organized at The Metropolitan Museum of Art include Art of the Royal Court: Treasures in Pietre Dure for the Palaces of Europe (2008) and Cast in Bronze: French Sculpture from Renaissance to Revolution (2009). Recent publications include European Sculpture, 1400–1900, The Metropolitan Museum of Art (2011), and Bernini: Sculpting in Clay (2012), a forthcoming exhibition catalogue for the Met and the Kimbell Art Museum.

Esmée Quodbach is the Assistant Director of the Center for the History of Collecting at The Frick Collection. She has authored a number of publications on collectors and collecting and on the taste for seventeenth-century Dutch paintings, Rembrandt in particular. Her publications include an expanded issue of the Metropolitan Museum's Bulletin on the formation of the Metropolitan's collection of Dutch paintings (Yale University Press, 2007) and an essay on Henry Clay Frick as a major American collector of Rembrandts (The Frick Collection, 2011). In 2009, Quodbach was the organizer of a two-day symposium held at the Frick entitled Holland's Golden Age in America: Collecting the Art of Rembrandt, Vermeer, and Hals. She is the editor of a volume of essays with the same title, to be published by Penn State University Press. This will be the first volume of a new series, The Frick Collection Studies in the History of Collecting, which will be co-published by Penn State University Press and the Center for the History of Collecting.

Denise Allen joined The Frick Collection in 2003 and currently holds the position of Curator of Renaissance Paintings and Sculpture. She received her M.A. in art history, with a specialization in Italian Renaissance art, from the Institute of Fine Arts, New York University, in 1983. In 1995, Allen was appointed Assistant Curator in the Department of Paintings at the J. Paul Getty Museum, Los Angeles. While at the Getty, she developed expertise in eighteenth-century pastels and curated exhibitions such as Ercole de'Roberti: The Renaissance in Ferrara (1999) and Greuze the Painter (2002). She has also organized several exhibitions at the Frick, including Willem van Tetrode (c. 1525–1580): Bronze Sculptures of the Renaissance (2003), A Beautiful and Gracious Manner: The Art of Parmigianino (2004), Renaissance and Baroque Bronzes from the Quentin Collection (2004), Renaissance and Baroque Bronzes from the Fitzwilliam Museum, Cambridge (2005), and George Stubbs: A Celebration (2006). She curated and was one of the principal catalogue authors for the exhibition Andrea Riccio: Renaissance Master of Bronze (2008). Most recently, she co-curated and contributed to the exhibition catalogue for Antico: The Golden Age of Renaissance Bronzes (2011–12). 

Nicholas Wise joined the Frick Collection in 2008 as a Curatorial Assistant. He holds a B.A. in Art History from Columbia University and previously served as a Curatorial Assistant at the Whitney Museum of American Art. At the Frick, he has provided curatorial assistance for several exhibitions, including Watteau to Degas: French Drawings from the Frits Lugt Collection (2009–10) and Renoir, Impressionism, and Full-Length Painting (2012). He was part of the editorial team for Fragonard’s Progress of Love at The Frick Collection (Colin B. Bailey, 2011). In 2012, he co-organized A Passion for Drawings: Charles Ryskamp’s Bequest to The Frick Collection with Katie L. Steiner and co-authored its accompanying article for The Frick Collection Members’ Magazine (Winter 2012). 

Joseph Godla is Chief Conservator at The Frick Collection. He studied musical instrument making and furniture making prior to his conservation career. He holds a certificate from the Smithsonian Institution's Furniture Conservation Training Program and an accompanying M.A. from Antioch University. He started his museum career in 1988 at the Society for the Preservation of New England Antiquities (now Historic New England) as a furniture conservator. Between 1991 and 2000, he served as Assistant/Associate Conservator in the Decorative Arts and Sculpture Conservation Department at the J. Paul Getty Museum, Los Angeles. In 2000, he returned to Historic New England to re-establish its conservation program and served there as the Senior Conservator for the next five years. Since joining the Frick Collection in 2005, Joseph Godla has conducted a perspectival study of Bellini's Saint Francisin the Desert, initiated a survey of the Collection's picture frames, and embarked on a technical study of the Frick's French Renaissance furniture, which was the subject of a paper at the International Institute for Conservation's 2012 conference.

Julia Day is Associate Conservator at The Frick Collection and is actively involved with the preservation of the building and its collection of decorative arts and sculpture. She recently completed the treatment of Houdon's life-sized painted terracotta sculpture Diana the Huntress in preparation for its installation in the new Portico Gallery. In 2012, she presented her work on The Frick Collection at two symposia: the French Bronze Symposium in Paris, where she discussed her work on Jehan Barbet's Angel in collaboration with Denise Allen and Stephen Scher, and the ICOM-CC Enamel Group meeting in Barcelona, where she spoke about her treatment of Limoges painted enamels and the renovation of the Enamel Room's historic display cases. She was the local organizer for the ICOM-CC Enamel group meeting held at The Frick in 2010, which welcomed experts from the United States and abroad, and she is currently an assistant coordinator for the group. She was also co-chair of the Nominating Committee for the Objects Specialty Group of the American Institute for Conservation (2009-11). Day received her M.A. and Certificate of Advanced Study in art conservation from the Buffalo State, State University of New York, and was an advanced-level intern in objects conservation at the Straus Center for Conservation, Harvard Art Museums, Cambridge, Massachusetts. Before coming to the Frick in 2008, she held a contract position at the Sherman Fairchild Center for Objects Conservation at the Metropolitan Museum of Art, New York, and has also worked on archaeological projects in Turkey and Peru.

Emerson Bowyer is The Frick Collection's Andrew W. Mellon Curatorial Fellow. A Ph.D. candidate at Columbia University, he is currently writing a dissertation on numismatic representation in nineteenth-century France and is organizing an exhibition on the work of David d'Angers at the Frick. His publications include "Monographic Impressions," in Reconsidering Gérôme (Getty Publications, 2010) and a review of Victor Stoichita's The Pygmalion Effect: From Ovid to Hitchcock (Visual Resources 26:2 [2010]). Most recently, he edited and introduced a special issue of Grey Room (48, Summer 2012. Special Issue, "Multiplying the Visual: Image and Object in the Nineteenth Century"), focused on nineteenth-century technologies of reproduction.

Olivia Powell is an educator and art historian specializing in fifteenth-century Italian art. She joined The Frick Collection in 2011 as the Samuel H. Kress Interpretive Fellow and works closely with the Education and Curatorial staff to conduct research and lead gallery programs. Her teaching responsibilities at the Frick include school visits, docent enrichment seminars, and the Art Dialogues and Gallery Conversations public programs. Additionally, she will teach Columbia University's fall semester undergraduate Arts Humanities course, Masterpieces of Western Art, as well as two classes for college students and recent graduates as part of the Frick Connection program, Topics in Italian Renaissance Art and A Brief History of Landscape Painting. She received her Ph.D. and M.Phil. from Columbia University and her B.A. from the University of California, Los Angeles. Powell has also participated in the Teaching Institute in Museum Education at the School of the Art Institute of Chicago.