London Faculty

Dr Tom Flynn



Dr Tom Flynn is a graduate of the University of Sussex and the Royal College of Art, completing his doctorate at the University of Sussex in 1998. From 1998-2000 Tom was Henry Moore Foundation Post-Doctoral Research Fellow at the University of Sussex, organising an international exhibition on Rodin’s connections with the United Kingdom. 

A former journalist at The Art Newspaper, his writing has appeared in numerous international art market publications. He has held board positions with art price data company Invaluable and the contemporary print retailer Eyestorm. He has published widely on the global art market, contemporary sculpture, museology, and art and design history and is an accredited lecturer with The Arts Society. 

He was Senior Lecturer at Kingston College of Art from 2010-2017, directing the RICS-Accredited MA in Art Appraisal (Professional Practice) and has taught at Sussex University; IESA (Paris and London); and Richmond, the American University in London.

In 2017 he co-founded with Angelina Giovani the art provenance research agency Flynn & Giovani (, of which he is non-Executive director.
Research Interests

Research Interests

Tom’s research interests include the history and professional practices of the global art market; art crime and cultural heritage protection; and the history of polychrome and mixed media sculpture, particularly the ancient tradition of chryselephantine (gold and ivory) statuary and its critical reception in the nineteenth century. 


Books (single-authored or edited)

The Body in Sculpture (1997) Everyman Art Library, Weidenfeld & Nicolson, London

Colonialism and the Object: Empire, Material Culture and the Museum (1998) (Co-Editor with Dr Tim Barringer), Routledge, London

Sean Henry (2008) Scala, London

Hands On: The Sculpture of Terence Coventry (2012) Pangolin, London

In Essence: The Sculpture of Charlotte Mayer (2013) Pangolin, London

The A to Z of the International Art Market (2016), Bloomsbury, London


Book Chapters

‘Reinventing the Real: The Landscapes of Clive Head’ in Clive Head: Paintings 1996-2001, Blains Fine Art, London 

‘Negotiating Authenticity: Contrasting Value Systems and Associated Risk in the Global Art Market’ in Anna M. Dempster (Ed.) (2014) Risk and Uncertainty in the Art World, Bloomsbury, London

‘Fear of Cultural Objects’ in Constantine Sandis (Ed.) (2014) Cultural Heritage Ethics, Open Book Publishers, Cambridge

‘The Art World: Compliant Victim?’ in Arthur Tompkins (Ed.) (2016) Art Crime and Its Prevention: A Handbook for Collectors and Art Professionals, Lund Humphries, London


Journal Articles & Reviews

‘Amending the Myth of Phidias: Quatremère de Quincy and the Nineteenth-Century Re-vival of Chryselephantine Sculpture’ (1997) in Apollo, London, (Jan. 1997), pp 6-11

‘The Colour of Sculpture’ Exhibition at the Van Gogh Museum, Amsterdam (1996) in Apollo, London, (Jan. 1997), pp 54-55

‘Canova: Ideal Heads’ Exhibition at the Ashmolean Museum, Oxford (1997) in Apollo, vol 146 (Nov. 1997) pp 57-8

‘Gilbert Bayes at the Fine Art Society’ in The Sculpture Journal (1999) Vol III, Public Monuments and Sculpture Association, London, pp 109-114


Selected Exhibition Catalogues

Jedd Novatt: New Sculpture (2001) Blains Fine Art, London 

Strange Flowers: Recent Sculpture by Tatyana Murray (2001) Blains Fine Art, London

Body Language (2005) Pangolin Editions, Stroud

‘Sean Henry: Nothing is the Same’ in Sean Henry: You’re Not the Same (2006) Forum Gallery, New York/Los Angeles

‘Sean Henry: In Conversation’ in Sean Henry: Präsenz (2007) Galerie von Braunbehrens, Munich

‘Jedd Novatt: Large-Scale Works’ in Jedd Novatt: Retrospective at La Piscine, Roubaix, France (2008) Silvana Editoriale, Milan

Simon Allen: Silent Rhythms (2009) Millennium Gallery, St Ives, Cornwall

Helaine Blumenfeld: Taking Risks, (2010) Robert Bowman Modern, London

Simon Allen: Crossings - Recent Sculpture (2010) Goldfish Fine Art (Anima Mundi), St. Ives, Cornwall

Hannah Woodman: Cornish Paintings 2009-2010 (2010) JHW Fine Art, London

‘Reframing the Classical’ in Janet Stayton: Pictures Within Pictures (2010) Athena Edizioni, Pietrasanta, Lucca, Italy

‘Liane Lang: Monumental Misconceptions’ in Liane Lang: Monumental Misconceptions: A Journey Through Sculptural Budapest, (2010) KvH Projects, London

Benedetto Pietromarchi: Works 2009-2011 (2011) Kenneth Armitage Foundation, Lon-don

‘The Universal Museum: A Valid Model for the 21st Century?’ in Creischer, A. Hinderer, M.J. & Siekmann, A. (Eds.) (2010) The Potosí Principle: Colonial Image Production in the Global Economy, Haus der Kulturen der Welt, Berlin, pp281-283 

‘Sean Henry at Salisbury Cathedral’ in Sean Henry: Conflux at Salisbury Cathedral (2011), Scala, London

Interesting Times (2012) University Of Leicester Annual Open Air Sculpture Show, Leicester

Corpus: The Sculpture of Sue Freeborough (2012) Gallery Pangolin, Chalford, Stroud

Simon Palmer: Recent Watercolours (2013) JHW Fine Art, London

Sean Henry at Glyndebourne (2013) Glyndebourne Opera House/Osborne Samuel Gal-lery, London

‘Dia Azzawi: Expanding the Imaginary’ in Dia Azzawi: Something Different (2015) One-Man Retrospective Exhibition at Meem Gallery, Dubai

‘Blumenfeld and Moore: A New Dialogue’ in Helaine Blumenfeld / Henry Moore: A Dialogue, 1985–2015 (2015) Bowman Sculpture: London

‘People Place and Practice: The Sculpture of Simon Hitchens’ (2017) in 10 Public Sculptures: A Reference Source for Commissioning

Sean Henry: The Song I Am About To Sing’ (2018) I Quaderni Del Circolo Degli Artisti, Faenza, Italy

Ken Smith: Recent Sculpture (2017) Messum’s Fine Art, London

Professional Affiliations

Professional Affiliations

AICA, the International Association of Art Critics
Fellow of the Royal Society of Arts
Accredited Lecturer for The Arts Society
Social Handles

Social Handles

Twitter: @Artnose
Instagram: @tomsculpt
LinkedIn: Tom Flynn