The second issue of 2022 from Art Antiquity and Law covers a range of topics: Emily Gould, Assistant Director of the Institute of Art and Law, provides a detailed examination of the law relating to NFTs. Rod Thomas, Associate Professor, AUT University, Auckland, New Zealand, examines the inconsistencies in New Zealand auction law and practice (as well as in the common law more generally) concerning questions of authenticity and who should bear the risk that a work is inauthentic.
In July this year, Nigeria and Germany signed a joint declaration on the return of the Benin Bronzes in German collections and Alexander Herman, Director of the Institute of Art and Law, expands in the journal on his shorter piece from the blog. The long-running quest by the heirs of Lilly Cassirer to recover a work by Camille Pissarro which had been the subject of a forced sale in Nazi Germany in 1939 has been mentioned in the pages of Art Antiquity and Law on many occasions over the years (see, inter alia, Kevin Chamberlain in 2006, Martha Lufkin in 2006, Lauren Redman in 2008 and Nicholas O’Donnell in 2017). And still the proceedings rumble on. In this issue of the journal, artist and attorney (and frequent blog contributor) Stephanie Drawdy examines the latest stage of the legal proceedings brought by the heirs against the Thyssen-Bornemisza Collection Foundation of Spain before the US courts.
For more information, visit ial.uk.com/new-aal2022/.
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