In this period she also served as Pro-Vice-Chancellor for External Relations, Deputy Vice-Chancellor and was a member of the University's Council and a Trustee of Cambridge in America, the Cambridge Commonwealth Trust and Cambridge Overseas Trust, a Trustee of the Cambridge Foundation, the Gates Cambridge Trust, the Newton Trust, and the Cambridge European Trust, and was Chairman of the Syndicate for the Fitzwilliam Museum.
The term was applied by later editors to the original two sonatas as Handel wrote them, and was also expanded to encompass several other sonatas for various instruments included in the Handel autograph manuscripts held by the Fitzwilliam Museum in Cambridge.
He served as Keeper of Coins and Medals at the Fitzwilliam Museum from 1988 to 1991 and since 2008 has held the post of Honorary Keeper of Ancient Coins.
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In 1976 Haskell, who often served on advisory committees for museum loan exhibitions, joined the National Art Collections Fund committee and became one of its most vocal members, defending the purchase of Poussin's Rebecca and Eliezar for the Fitzwilliam Museum in Cambridge (the government refused to accept the painting because it had been in the collection of the disgraced Anthony Blunt).
Courtauld was financial director of Ealing Studios, a trustee of the Royal Opera House in London's Covent Garden, and provided financial support for the Courtauld Galleries in Cambridge’s Fitzwilliam Museum.
He joined the Fitzwilliam Museum as its director in 1995 upon returning to the United Kingdom from Yale, where he was an honorary member of Manuscript Society, taking a Professorial Fellowship at Clare College at the same time.
They were first associated in 1948, when Thurston Dart named them after the Fitzwilliam Museum at the University of Cambridge, where the autograph sources are kept.