Few institutions are as reliably at the forefront of issues of cultural property law as the DePaul University School of Law in Chicago. Not surprisingly, they have another terrific event coming up. I’ll be at the street art CLE I am giving at the New York City Bar Association, but otherwise I would make every effort to be there and I encourage anyone interested to do the same. The presenters are experts and luminaries of the highest order.
Topics: Thomas R. Kline, Lori Breslauer, Alessandro Chechi, Rebecca Tsosie, DePaul University College of Law, Events, Patty Gerstenblith, Human Rights and Cultural Heritage, Karima E. Bennoune, Lubna S. El-Gendi, Stacey Jessiman de Nanteuil, Sarah Dávila-Ruhaak
I am pleased to be among distinguished colleagues and practitioners presenting a CLE at the New York City Bar Association on November 2, 2017. Entitled “Off the Wall: Legal Issues Involving Street Art,” the panel will cover some of the hot button legal issues affecting the art world today, and this year’s program will center around the legal issues involving street art. This program is intended for those who practice art law, litigation, copyright, and trademark law, as well as those with clients in the art, fashion, advertising, and real estate industries.
The National Gallery London hosted on September 12, 2017 the much-anticipated conference “70 Years and Counting: the Final Opportunity?” organized by the United Kingdom Department for Digital, Culture Media & Sport (DCCS), and the Commission for Looted Art in Europe (CLAE). Delegates from numerous countries gathered to consider the state of progress on the efforts to identify and return works of art lost during the Nazi era. While the event had a truly international flair, the discussion centered primarily on the five countries that have created some sort of process to consider assertions of looted art in response to the Washington Principles on Nazi-Confiscated Art: England, France, Austria, the Netherlands, and Germany.
Topics: Victoria and Albert Museum, Kunstrückgabebeirat, Zentralinstitut für Kunstgeschichte, National Gallery London, Constantine Cannon LLP, Commission for Looted Art in Europe, Washington Principles on Nazi-Confiscated Art, Christie's, Advisory Commission, Johannes Nathan, Monica Dugot, Imke Gielen, Sotheby's, Neumeister Auction House, Richard Aronowitz-Mercer, Tony Baumgartner, Clyde & Co., John Glen, UK Spoliation Advisory Panel, The Orpheus Clock, Art Restitution Advisory Board, Margreet Soeting, H. Blairman & Sons Ltd., Katrin Stoll, Department for Digital Culture Media & Sport, DCCS, CLAE, 70 Years and Counting: the Final Opportunity?, Gabriele Finaldi, David Lewis, Minister for the Arts Heritage and Tourism, Sir Paul Jenkins, Dr. Antonia Boström, von Trott zu Solz Lammek, Simon Goodman, Sir Donnell Deeny, Jan Bank, Restitutions Committee of the Netherlands, Dr. Reinhard Binder-Krieglstein, Professor Dr. Reinhard Rürup, Jean-Pierre Bady, Commission pour l’indemnisation des victimes, CVIS, Dr. Christian Fuhrmeister, British Library, Nathan Fine Art, Stedelijk Museum, Pierre Valentine, Martin Levy
Two wonderful museums recently announced plans to sell major works of art. In one case, some 40 paintings, American masterpieces among them, will be sold at auction. In another, more than 400 photographs will also be sold. The former case has prompted a nationwide outcry, the latter…effectively nothing. The differences and similarities between the two underscore the aspirational rules that govern what is known as “deaccessioning,” but also remind us that principles and the goals they are meant to reach are not always the same thing.
Topics: Metropolitan Museum of Art, Delaware Museum of Art, American Alliance of Museums, Lee Rosenbaum, MoMA, Deaccessioning, AAM, Norman Rockwell, Association of Art Museum Directors, Alexander Calder, Museum of Fine Arts Boston, AAMD, Pennsylvania Academy of Fine Arts, Pittsfield, General Electric, Waconah Park, Berkshire Museum, Housatonic, Lake Onota, Frederic Church, Albert Bierstadt, Zenas Crane, Williamstown, Lenox, North Adams, Mass MoCA, Felix Salmon
I am pleased to announce that I will be speaking about my book A Tragic Fate: Law and Ethics in the Battle Over Nazi-Looted Art (now available in both hardcover and Kindle edition) and related topics on September 13, 2017 at the Centre for Commercial Law Studies, Queen Mary University of London and the Institute of Art and Law. Entitled “Nazi-Looted Art: From Fair and Just Solutions to Litigation,” I will give an overview of the topic of the intersection between legal and ethical challenges that have surrounded efforts to restitute art looted by the Nazis and their allies. A panel discussion will follow with experts Tony Baumgartner of Clyde & Co. (and a member of the UK Spoliation Advisory Panel), Charlotte Woodhead (Assistant Professor at the University of Warwick and an instructor at the Institute of Art and Law) and Gregor Kleinknecht of Hunter Solicitors. There will be a reception and an opportunity to buy and have copies of the book signed.
Topics: Nazi-looted art, Events, A Tragic Fate, Law and Ethics in the Battle Over Nazi-Looted Art, Tony Baumgartner, Clyde & Co., Institute of Art and Law, Centre for Commercial Law Studies, Queen Mary University of London, From Fair and Just Solutions to Litigation, Charlotte Woodhead, Gregor Kleinknecht, Hunter Solicitors
A federal appeals court has upheld the growing consensus that the Foreign Sovereign Immunities Act (FSIA) confers jurisdiction over foreign state actors in possession of art allegedly looted by and/or overseen by the Nazis. Upholding last year’s District Court decision, the U.S. Court of Appeals for the D.C. Circuit affirmed the ruling in De Csepel v. Republic of Hungary that denied several Budapest museums’ motion to dismiss, while allowing the Republic of Hungary itself out of the case. This is the heirs second successful trip to the appellate court, where their claims were upheld in 2013. The case is the subject of a chapter in my newly-released book A Tragic Fate--Law and Ethics in the Battle Over Nazi-Looted Art (ABA Publishing).
Topics: Berlin, David de Csepel, Angela Maria Herzog, Thyssen-Bornemisza Collection, Foreign Sovereign Immunities Act, Baron Herzog, Budapest University of Technology and Economics, Hungarian National Gallery, SPK, Stiftung Preussischer Kulturbesitz, Budapest Museum of Fine Arts, FSIA, expropriation exception”, Cassirer v. Kingdom of Spain, Federal Republic of Germany, András Herzog, Welfenschatz, genocide
The often murky role of advisors and clients in the art market is a subject that continues to generate headlines, from the ongoing Bouvier saga to this year’s judgment against Lisa Jacobs. For those trying to draw useful lines and gain practical guidance, a new Kindle book Managing Relationships in the Art Market by art advisor and Tang Art Advisory Principal Annelien Bruins will be a useful reference.
Readers of the blog will recall our view of Master Thieves: the Boston Gangesters Who Pulled off the World's Greatest Art Heist by Stephen Kurkjian. Kurkjian's book is the definitive work on the 1990 robbery of several masterpieces from the Isabella Stewart Gardner Museum in Boston, and explores--and dispels--numerous aspects of the infamous case.
The following is from the Kirkus Reviews starred review of A Tragic Fate--Law and Ethics in the Battle Over Nazi-Looted Art (emphasis added)
A comprehensive review of United States court cases involving art that was plundered by Nazis.
Adolf Hitler’s Nazi regime was always keenly attuned to the power of cultural symbolism and eager to find new ways to disenfranchise Jewish people. These two preoccupations converged in their looting of privately owned art between 1933 and 1945. Some treasures were brazenly confiscated, while others were purchased at steep, coerced discounts. In the last few decades, there’s been growing interest in this large-scale larceny, and yet much of the stolen art will likely never be returned to its original owners. Debut author O’Donnell, an attorney, calls this the “central paradox posed by disputes in the last twenty years.” In this book, he diligently catalogs the many moral and judicial reasons for this absurdity, as well as the evolution of laws regarding claims. His study specifically focuses on cases that resulted in litigation in America, providing an exhaustive account of each and arguing that such litigation can be an effective legal strategy, despite complaints to the contrary. O’Donnell also includes discussions of landmark moments in art-restitution law, such as the London Declaration in 1943, the Washington Conference on Holocaust-Era Assets in 1998, and the Holocaust Expropriated Art Recovery Act of 2016, which was introduced in the U.S. Senate. The United States emerges in O’Donnell’s account as an early, forceful leader in international art restitution, despite the fact that some of its own laws, and even the Fifth Amendment, can complicate victims’ options. His mastery of the relevant law is nothing short of stunning, and his meticulous parsing of legal detail leaves no stones unturned.
New book explores the historical, ethical, and legal consequences of stolen art
I am pleased to announce that my book A Tragic Fate—Law and Ethics in the Battle Over Nazi-Looted Art (Ankerwycke/ABA Publishing ) is available for purchase and delivery. I am proud to have composed the first comprehensive overview of looted art disputes in the United States, grounded in the historical and ethical perspectives that have shaped the debate over time. This has been a fascinating project that am very excited to share. As I hope readers of the blog will agree, my effort is always to provide a resource that those of general interest will find engaging but not hypertechincal, and which practioners will find useful as a resource.
Topics: Catherine Hickley, Nazi-looted art, Sullivan & Worcester LLP, Books, Georgina Adam, Nicholas M. O'Donnell, Art Law Report, ABA Publishing, Ankerwycke, A Tragic Fate, Law and Ethics in the Battle Over Nazi-Looted Art