Brilliance in Focus: Fine Arts Power Broker Mary Pontillo

From an art teacher to a fine arts broker, snippets of the career journey of Mary Pontillo.
By: | July 24, 2025


 


As part of covering the best brokers in the commercial insurance space, Risk & Insurance®, with the sponsorship of Philadelphia Insurance Companies, is expanding its coverage of Power Broker® winners and finalists with its Brilliance in Focus series.

Look for these expanded profiles on the Risk & Insurance website and in your social media feeds throughout the year.

Here, we talk with Risk Strategies’ Mary Pontillo, a 2025 Fine Arts Power Broker.

Risk & Insurance: You’ve no doubt mentored some excellent fine arts brokers in your career. What part of that do you find most fulfilling?

Mary Pontillo: Mentoring and transferring knowledge to others is one the most satisfying aspects of my career.  There are people on my team who I hired as assistants who are now managing the team; I’ve loved watching these people develop over time and enjoy knowing that I contributed to this growth.

I also value getting teammates up to speed on complex accounts and ultimately transitioning them into the lead on the account.  Helping people gain the confidence to handle difficult situations on their own is incredibly rewarding.

In addition, I have a group of women leaders I mentor from around the firm.  This program provided deep connections with other women, and I’ve enjoyed facilitating their creation of solutions to the issues they bring to the mentoring circle.

R&I: Fine arts losses in the Los Angeles fires were said to be quite substantial. As things stand now, what can you tell us about paid claims and the impact on the fine arts insurance market going forward?

 MP: I can’t tell you much about paid claims as our Fine Art team had very few clients impacted by the LA Fires.  Over the last few years underwriting requirements have become more rigorous for wildfire-prone exposures.

Most of our collectors in the LA area provided emergency removal protocols, some installed fire-proof vaults to which they can move their artwork in the case of impending fire, and outlined wildfire protections (brush maintenance, sprinklers, special filtration systems/vents, etc.).  People should consider the value of artworks they keep in wildfire-prone locations as fires are unpredictable.  Any new risks in these areas should be prepared to provide incredibly thorough underwriting information.

R&I: Given the experience of the Los Angeles fires, what are you telling clients about what they can do to protect their collections going forward?

MP: See above.  Have a risk management specialist (some insurance companies offer this service) inspect your home to provide detailed suggestions for your situation.  What is your plan if a fire is X distance away from your home?  How will you respond?  Do you have art handlers on retainer to help you remove artwork?  Typically, there are strict guidelines around when art handlers will enter an area threatened by fire. 

R&I: Tell us about your origins in the insurance industry. What was your first job and what did you take away from it?

MP: I started my professional life as an elementary art teacher, went back to graduate school for art history, then began my insurance career working for a fine art claims adjuster.  I had no idea this industry existed and starting on the adjusting side was the perfect entre to this career.

I received the “first notice of claims” along with the policy language and my boss asked me to determine, by reading the policy language, where coverage was, what valuation applied, and possible conditions/exclusions/endorsements that could impact the claim.  I sent a preliminary report back to my boss and we’d go over my analysis.  I’ve taken this skill of carefully considering policy language with me throughout my career.

R&I: Much is written about the role of technology in risk mitigation and underwriting.  Is risk mitigation technology gaining traction in the fine arts space and how?

 MP: It seems that underwriters are taking a more aggressive stance using modeling in fire, earthquake, and water-prone locations.  They have more information and, as a result, demand more detailed information from clients.

R&I: Of the emerging risks in the fine arts space, which do you find most concerning?

MP: There are a few issues in the fine art world right now that are impacting insurance:

  • Funding pulled back from NEA impacting the US Government Indemnity program.  Museums plan far in advance for exhibitions and there is a good deal of ambiguity surrounding this program.  Museum budgets are strained and losing funding for an important program like this will have a profound impact on museum exhibition programming.  I’m currently working on some potential insurance solutions for this problem.
  • Political protests and upheaval affect how loans and consignments are negotiated around the world.  Recently the protests in Los Angeles caused one of my clients concern about the safety of their artwork on loan to a museum.  We reviewed the policy provisions to discuss what perils associated with the protests may or may not be covered.  Understanding the policy language nuances and options for political violence coverage is key in the current climate.
  • Climate change – weather is impacting locations in different ways than it ever has.  Freezing temperatures where it’s usually warm; exceedingly warm temperatures where it’s usually cool.  Facilities and staff are not prepared for extreme temperatures, and we’ve already seen this impact art collections. &

The R&I Editorial Team can be reached at [email protected].

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