Louisa Wood Ruby is a visiting fellow at BGC this spring. She was previously head of research at the Frick Art Reference Library where she was in charge of the Center for the History of Collecting, the Digital Art History Lab, and the Scholars’ Program. A specialist in Dutch and Flemish art, she has published a catalogue raisonné of the drawings of Paul Bril; numerous articles in journals such as Master Drawings, Burlington Magazine, and the Journal of Historians of Netherlandish Art; and contributed essays to several symposia proceedings and festschrifts. Her interest in the art collections of the early Dutch in New Netherlands/New York emerged in 2008 with her article “Dutch Art and the Hudson Valley Patroon Painters” published in Joyce Goodfriend’s volume Going Dutch: The Dutch Presence in America 1609–2009 and continued in 2014 with her essay, “Pictures Painted Chiefly in Oils, on Boards: Collecting Dutch Art in Colonial New York,” in the Frick Collection Studies in the History of Art Collecting in America, volume 1: Holland’s Golden Age in America: Collecting the Art of Rembrandt, Vermeer, and Hals. In 2019–20, she co-curated and wrote the catalogue for the exhibition Jan Brueghel the Elder: A Magnificent Draughtsman, held at the Snijders & Rockoxhuis museum in Antwerp. Most recently, she contributed “A Family Affair: Bruegel and Sons in America,” to the Frick’s publication, America and the Art of Flanders: Collecting Paintings by Rubens, Van Dyck, and Their Circles, and “Provenance Initiatives Emerging within the Digital Humanities,” for the book, Provenance Research Today: Principles, Practice, Problems, published by Lund Humphries.