Path to Art Advisory: Suzanne Gyorgy and Nancy Harrison

Suzanne Gyorgy and Nancy Harrison share decades of experience in the art world, both building successful careers independently and now working together at Emigrant Bank Fine Art. Suzanne built her career working at MoMA and with private collectors before moving into art finance within a bank, while Nancy spent 25 years at Sotheby’s and later as advisor, appraiser and president at the Appraisers Association of America before making the same transition.

Suzanne Gyorgy in 1982 at MoMA, condition checking, Picasso, Head of a Woman.

What's one lesson you learned that has stayed with you?

NH: A lesson that stayed with me is to speak up about your career goals, even if you may get temporarily shot down. I boldly suggested to the new head of the Old Masters department, whom I was consulting in my role with the painting department at our secondary gallery (PB-84), that if there was an opening, I was keen to pursue the field, as it was so challenging. She informed me that George Wachter (who is still at Sotheby’s after 50 years!) was coming over from London to work with her, closing that door. Two weeks later, she called to ask if I wanted to take George’s place as an Old Masters cataloguer in London. This led to an amazing, several-year-long experience at New Bond St. learning from top scholars and experts circling in and out of the department, along with the opportunity for extensive travel around the UK and the continent.

Where did you first hear about art advising?

NH: When I was in London in the late ‘70’s, I perceived that Annamaria Edelstein had the dream job, as art advisor to the British Rail Pension Fund, whose stewards were looking to beat the UKs staggering inflation by investing in blue chip art—Old Masters to Modern, as well as top Asian art.  I helped with researching some of the selections that came before the committee.  Annamaria was treated like a goddess by the art dealer community, bestowing her Midas touch on the art dealers who had the chosen treasures.

What was your first “art world” job?

Suzanne Gyorgy: I went to art school, so in many ways, my first “art world” job was waitressing at a Chinese restaurant in SoHo. While it wasn’t the career start my parents or I had envisioned, it was a remarkable experience. I saved one night’s tips for rent and spent the next night’s on food and art supplies. This role allowed me to meet many people and soak in SoHo’s vibrant energy. One memorable evening, I bumped into a friend of a friend who shared life-changing news: The Museum of Modern Art was looking for staff for its bookstore during a blockbuster Picasso show. I landed the job, which set me on an incredible path. After a year, I transitioned to MoMA’s registrar department, working with the paintings and sculpture department. This was my hands-on introduction to masterpieces and brilliant curators like Bill Rubin and Kynaston McShine. I learned invaluable skills, including how to condition check artworks to museum standards and working with the art  handlers, how hang art with a consistent center off the floor.

Nancy Harrison: My first art world job was at Sotheby Parke Bernet, where I walked in the door in February 1974 and asked the receptionist if there were any jobs available. I had just left Vassar as an Art History major after completing my course credits and wanted to make some money in the interim before graduate school in the fall. I hadn’t intended, as it happened, to spend the next 25 years there and to complete my MA at night at Hunter (which had incredible faculty, by the way). I was fortunate that the receptionist immediately called the personnel department, and I was soon hired as an assistant, part of my job being to coordinate mixed consignments—art and other valuable household contents—a great learning experience.

Andy Augenblick and Nancy Harrison at an Appraisers Association of America Award luncheon, for which EBFA was Award Sponsor.

Sotheby’s, New York, Senior Management meeting, early 1990’s Nancy Harrison, seated far left

Who did you look up to when you were first considering art advising? 

SG: My career has been profoundly shaped by those who loved art and took the time to mentor me. In the arts, there is no singular path; through generosity and care, we as art advisors and professionals, alongside organizations like APAA, continue the tradition of guiding and opening doors for others.

What advice would you give your younger self just starting out on the path to art advising?

NH: If I could counsel my younger self on the path to the art advisory profession, it would be to do whatever it takes to see the major museum exhibitions—many of which will never be repeated—even if you need to travel to see them.  I regret some I missed. Most importantly, be candid in giving your opinions to a client, even if the deal doesn’t happen. Give your opinions but don’t impose them.  Listen closely to the clues your client gives you about their taste, interests, budget and comfort level with any potential acquisition; hopefully it will be a collaborative process.    

What drew you to art advising over other art world careers?

SG: My experience at MoMA led me to work with private collectors, including Donald B. Marron, a thoughtful and world-class collector. At the time Mr. Marron was president of MoMA’s board of trustees and CEO of PaineWebber (now UBS). He hired me first as a freelance registrar, and then later as director of the PaineWebber Art Gallery. During the ten years we worked together, he took the time to teach me to assess art with depth and focus, emphasizing the importance of understanding an artist's entire body of work before making an acquisition. This meticulous approach resulted in one of the strongest collections I have ever encountered.

NH: I have been a cataloguer, a business getter, a department head, on the operating committee and other roles while still at Sotheby’s, and trained up as an appraiser. This experience culminated in becoming president of the Appraisers Association of America, and now providing in-house expertise at my present job at an art finance subsidiary of a bank.

The art advisory role for non-borrower clients in my current position is the most satisfying—matching our non-borrower clients’ tastes with the right objects in the marketplace is both thrilling and rewarding. We’ve handled some challenging sculpture commissions, requiring patience and learning from scratch about permits, rigging, cranes, and pouring a foundation. It never gets old.

Suzanne Gyorgy with the artist, Taiji Harada, 1990 at the PaineWebber/UBS Gallery.