• About
    • Mission
    • Team
    • Boards
    • Mentions & Testimonials
    • Institutional Recognition
    • Annual Reports
    • Current & Past Sponsors
    • Contact Us
  • Resources
    • Article Collection
    • Podcast: Art in Brief
    • AML and the Art Market
    • AI and Art Authentication
    • Newsletter
      • Subscribe
      • Archives
      • In Brief
    • Art Law Library
    • Movies
    • Nazi-looted Art Restitution Database
    • Global Network
      • Courses and Programs
      • Artists’ Assistance
      • Bar Associations
      • Legal Sources
      • Law Firms
      • Student Societies
      • Research Institutions
    • Additional resources
      • The “Interview” Project
  • Events
    • Worldwide Calendar
    • Our Events
      • All Events
      • Annual Conferences
        • 2025 Art Law Conference
        • 2024 Art Law Conference
        • 2023 Art Law Conference
        • 2022 Art Law Conference
        • 2015 Art Law Conference
  • Programs
    • Visual Artists’ Legal Clinics
      • Art & Copyright Law Clinic
      • Artist-Dealer Relationships Clinic
      • Artist Legacy and Estate Planning Clinic
      • Visual Artists’ Immigration Clinic
    • Summer School
      • 2026
      • 2025
    • Internship and Fellowship
    • Judith Bresler Fellowship
  • Case Law Database
  • Log in
  • Become a Member
  • Donate
  • Log in
  • Become a Member
  • Donate
Center for Art Law
  • About
    About
    • Mission
    • Team
    • Boards
    • Mentions & Testimonials
    • Institutional Recognition
    • Annual Reports
    • Current & Past Sponsors
    • Contact Us
  • Resources
    Resources
    • Article Collection
    • Podcast: Art in Brief
    • AML and the Art Market
    • AI and Art Authentication
    • Newsletter
      Newsletter
      • Subscribe
      • Archives
      • In Brief
    • Art Law Library
    • Movies
    • Nazi-looted Art Restitution Database
    • Global Network
      Global Network
      • Courses and Programs
      • Artists’ Assistance
      • Bar Associations
      • Legal Sources
      • Law Firms
      • Student Societies
      • Research Institutions
    • Additional resources
      Additional resources
      • The “Interview” Project
  • Events
    Events
    • Worldwide Calendar
    • Our Events
      Our Events
      • All Events
      • Annual Conferences
        Annual Conferences
        • 2025 Art Law Conference
        • 2024 Art Law Conference
        • 2023 Art Law Conference
        • 2022 Art Law Conference
        • 2015 Art Law Conference
  • Programs
    Programs
    • Visual Artists’ Legal Clinics
      Visual Artists’ Legal Clinics
      • Art & Copyright Law Clinic
      • Artist-Dealer Relationships Clinic
      • Artist Legacy and Estate Planning Clinic
      • Visual Artists’ Immigration Clinic
    • Summer School
      Summer School
      • 2026
      • 2025
    • Internship and Fellowship
    • Judith Bresler Fellowship
  • Case Law Database
Home image/svg+xml 2021 Timothée Giet Case Review image/svg+xml 2021 Timothée Giet Case Review: Federal Republic of Germany v. Philipp (2021)
Back

Case Review: Federal Republic of Germany v. Philipp (2021)

May 3, 2021

By Laura Michiko Kaiser.

A high-profile Nazi-era restitution claim has been making waves since the United States Supreme Court issued its decision on February 3, 2021.[1] Known commonly as the Guelph Treasure or Welfenschatz case, Federal Republic of Germany v. Philipp has been reported on extensively as scholars and attorneys predict what it means for Nazi-era looted art restitution claims going forward.[2] This article will provide an overview of the case, including the facts, procedural history, and the Supreme Court’s decision, as well as key takeaways for the art law community.

Facts

The important collection of medieval relics at the center of the Guelph Treasure case date back to the Holy Roman Empire, but the history relevant to this case starts in the 20th century.[3] In 1929, the collection consisted of 82 objects.[4] At the end of the Weimar Republic, three German Jewish art firms created a consortium to purchase the Welfenschatz from the Duke of Brunswick and subsequently sold many of the pieces to museums and private collectors in Europe and the United States.[5] When the Nazis came to power, Hermann Goering took a special interest in the remaining number of pieces in the collection.[6] As argued by the heirs of the dealers, in a 1935 sham transaction orchestrated by Goering, the dealers were forced to sell the precious collection under duress (and far under market value) to the Nazi-controlled State of Prussia.[7]

At the end of the war, the United States took possession of the Welfenschatz and eventually turned the collection over to Germany.[8] Germany and the Stiftung Preussischer Kulturbesitz (“SPK”), the Prussian Cultural Heritage Foundation, an instrumentality of Germany, assert ownership over the treasure, which is currently on display at the Museum of Decorative Arts (“Kunstgewerbemuseum”) in Berlin.[9] In 2014, the heirs to the art dealers brought their claim to the German Advisory Commission for the Return of Cultural Property Seized as a Result of Nazi Persecution, Especially Jewish Property (“the Commission”).[10] The Commission ultimately concluded that there was no duress and that the treasure was sold at a fair price.[11] Subsequently, the heirs brought a lawsuit seeking restitution of the Guelph Treasure in the United States District Court for the District of Columbia on February 23, 2015.[12]

Arguments

At the United States District Court for the District of Columbia (“DDC”), the heirs alleged that the 1935 sale was a “taking of property in violation of international law.”[13] The language in the complaint references the Foreign Sovereign Immunities Act (“FSIA”) which allows lawsuits against foreign states to proceed in United States courts if “property is taken in violation of international law”—referred to as the FSIA’s “expropriation exception.”[14] In short, the heirs claimed they may sue Germany in a U.S. court because the forced sale of the Welfenschatz violated the international law of genocide. The heirs seek $250 million in damages and return of the Welfenschatz.[15]

In reply, Germany and the SPK argued that the expropriation exception does not apply here because there is no violation of international law when a sovereign takes property from its own nationals.[16] Therefore, because Germany took the Welfenschatz from German nationals, they did not violate international law in a way that would open them up to suit in the U.S, a position with which the U.S. Supreme Court sided with in its February 3, 2021 decision.[17]

Procedural History

On March 31, 2017, the DDC ruled that because the taking of the Welfenschatz “bears a sufficient connection to genocide,” the forced sale could fall under the expropriation exception as a taking in violation of international law.[18] On appeal, the Court of Appeals for the District of Columbia Circuit agreed with the DDC and sided with the heirs stating that a foreign state’s genocidal acts against its own nationals is a violation of international law.[19] Germany appealed and the United States Supreme Court granted certiorari. Oral arguments were held by teleconference on December 7, 2020.[20]

The Supreme Court’s Decision

During oral arguments, the Justices questioned the scope of plaintiffs’ claim and where the line might be drawn between property taken during the Holocaust and worldwide violations of international law past and present.[21] Justice Stephen G. Breyer, for example, expressed concern that siding with the plaintiffs would open U.S. district courts to lawsuits from other countries for human rights violations involving property confiscation.[22] Plaintiffs argued that the limiting principle comes from the text of the FSIA—that foreign states can only be sued when the international law violation causes the “taking” of property.[23] Put another way, the Holocaust is unique because the Nazis sought to destroy the Jewish people by taking their property.[24]

Ultimately, the Court disagreed and Chief Justice John G. Roberts wrote the opinion for a unanimous court. To reiterate, the question before the court was whether a foreign country’s taking of property from its own nationals falls under the expropriation exception of the FSIA, thus allowing the foreign country to be sued in U.S. courts.[25] The Court first held that the expropriation exception references property law (and the international law of expropriation), not the law of genocide or human rights.[26] Following that logic, the Court noted that a taking of property is only a violation of international law when the foreign country takes from a non-citizen.[27]

The court restated the line-drawing issue raised in oral arguments and found that the heirs’ interpretation of the FSIA would extend to any human rights abuse and impermissibly allow lawsuits against foreign countries for human rights violations.[28] Before concluding, the Court reinforced its decision by aligning the opinion with other FSIA provisions and refuting other statutes the heirs rely on—including the 2016 Foreign Cultural Exchange Jurisdictional Immunity Clarification Act and the Holocaust Expropriate Art Recovery (HEAR) Act of 2016.[29]

Notably, the Court agreed with the heirs that claims could be brought against a foreign state under the expropriation exception when the claim alleges the taking of an alien’s, or a non-national’s, property.[30] The Court directed the District Court to consider (on remand) the heirs’ alternative argument that the German-Jewish art dealers were not German nationals at the time of the sale.[31] On April 22, 2021, the heirs requested permission from the District Court to amend their complaint to add additional information regarding Nazi views on nationality.[32] The heirs additionally allege that two of the dealers were residents of Amsterdam prior to the transaction and that they were Dutch nationals under international law at that time.[33]

Takeaways

In light of the recent Supreme Court’s decision, what does the Philipp ruling mean for future Nazi-era looted art restitution claims in the United States and beyond? The answer is uncertain.[34] Given the holding in Philipp, other cases that have been pending may be reaching a resolution. Specifically, in Toren v. Federal Republic of Germany—which has been on hold for three years pending the outcome of Philipp— Peter Toren proposed a new schedule in February 2021 to continue the case, but there are no further updates.[35]

Philipp is proceeding in the District Court of DC, and it remains to be seen how the court treats plaintiffs’ alternative argument that the dealers were not considered German nationals at the time of the Welfenschatz transaction. Plaintiffs, and groups who support them, were disappointed with the Supreme Court’s decision, but the legal battle, most assuredly, goes on.[36]


Additional Reading Materials:

Cases:

  • Simon v. Republic of Hungary, 812 F.3d 127 (D.C. Cir. 2016).
  • Reif v. Nagy, 175 A.D.3d 107 (N.Y. App. Div. 2019).
  • Zuckerman v. Metropolitan Museum of Art, 928 F.3d 186 (2d Cir. 2019).
  • de Csepel v. Republic of Hungary, 859 F.3d 1094 (D.C. Cir. 2017).
  • Von Saher v. Norton Simon Museum of Art at Pasadena, 754 F.3d 712 (9th Cir. 2014).
  • Republic of Austria v. Altmann, 514 U.S. 677 (2004).

Articles:

  • Maximilíano Durón, Supreme Court Rules in Favor of Germany in Dispute Over Nazi-Era Guelph Treasure, Artnews (Feb. 3, 2021, 4:05 PM).
  • Guelph Treasure Art Restitution Case – Media Coverage, Sullivan & Worcester (last visited Apr. 2, 2021).
  • Talia Berniker & Sabrina Soffer, Art Law in the Supreme Court, Center for Art Law (Dec. 29, 2020).
  • Timothy Chung, Two for the Price of One: Recent US Legal Developments in Nazi-Looted Art, Center for Art Law (Oct. 8, 2019).
  • Timothy Chung, Case Review: Cassirer v. Thyssen-Bornemisza Collection Foundation, Center for Art Law (June 12, 2019).
  • Mia Guttmann, Case Review: de Csepel v. Republic of Hungary, Center for Art Law (May 3, 2019).

Podcasts:

  • Recent New York Holocaust-Era Art Cases Come Out Differently, The Art Law Podcast (Aug. 5, 2019).

Endnotes:

  1. Federal Republic of Germany v. Philipp, No. 19-351, slip op. at 1 (U.S. Feb. 3, 2021). ↑
  2. See e.g., Sarah Cascone, In a Precedent-Setting Move, the Supreme Court Denies Jewish Heirs’ Attempt to Reclaim the $250 Million Guelph Treasure, Artnet News (Feb. 3, 2021). ↑
  3. See Philipp, slip op. at 1. ↑
  4. Stiftung Preußischer Kulturbesitz, What is the Guelph Treasure? (last visited Apr. 29, 2021). ↑
  5. See Philipp, slip op. at 2. ↑
  6. Id. ↑
  7. Complaint at 2, Philipp v. Federal Republic of Germany (D. D.C. Feb. 23, 2015) (No. 1:15-cv-00266). ↑
  8. See Philipp, slip op. at 2. ↑
  9. Id. at 2; Complaint at 9, Philipp v. Federal Republic of Germany (D. D.C. Feb. 23, 2015) (No. 1:15-cv-00266); Stiftung Preußischer Kulturbesitz, What is the Guelph Treasure? (last visited Apr. 2, 2021); Staatliche Museen zu Berlin Preußischer Kulturbesitz, Kunstgewerbemuseum (last visited Apr. 2, 2021). ↑
  10. See Philipp, slip op. at 3. ↑
  11. Id. ↑
  12. Id. at 3; Complaint, Philipp v. Federal Republic of Germany (D. D.C. Feb. 23, 2015) (No. 1:15-cv-00266). ↑
  13. Complaint at 49, Philipp v. Federal Republic of Germany (D. D.C. Feb. 23, 2015) (No. 1:15-cv-00266). Among other claims, plaintiffs also argue that the Advisory Commission’s refusal to accept their argument constituted a “second taking.” Id. at 51. ↑
  14. 28 U.S.C. § 1605(a)(3). ↑
  15. Complaint at 70, Philipp v. Federal Republic of Germany (D. D.C. Feb. 23, 2015) (No. 1:15-cv-00266). ↑
  16. Defendant’s Motion to Dismiss and Incorporated Memorandum of Law at 17, Philipp v. Federal Republic of Germany (D. D.C. Oct. 29, 2015) (No. 1:15-cv-00266). ↑
  17. See id. ↑
  18. Philipp v. Federal Republic of Germany, 248 F.Supp.3d 59, 71 (D. D.C. Mar. 31, 2017). ↑
  19. See Philipp, slip op. at 3. ↑
  20. See Federal Republic of Germany v. Philipp, Oyez (last visited Apr. 2, 2021) (If you would like to listen to the oral argument recording, click on the link in this footnote or in the article and navigate to the left hand side of the page, under “Media.”) ↑
  21. Id. ↑
  22. Id. ↑
  23. Id. ↑
  24. Id. ↑
  25. See Philipp, slip op. at 1. ↑
  26. Id. at 9. ↑
  27. Id. (relying on the historical and legal context of the Hickenlooper Amendment outlined earlier in the Court’s opinion). ↑
  28. Id. at 10, 11. ↑
  29. Id. at 12-15. ↑
  30. Id. at 14. ↑
  31. Id. at 16. ↑
  32. Memorandum in Support of Plaintiffs’ Motion for Leave to Amend at 8-9, Philipp v. Federal Republic of Germany (D. D.C. Apr. 22, 2021) (No. 1:15-cv-00266). ↑
  33. Memorandum in Support of Plaintiffs’ Motion for Leave to Amend at 9-10, Philipp v. Federal Republic of Germany (D. D.C. Apr. 22, 2021) (No. 1:15-cv-00266). Note also that on the same day Philipp was decided, the Court also remanded a similar case, Republic of Hungary v. Simon, to proceed consistent with the Philipp decision. Republic of Hungary v. Simon, No. 18-1447, slip op. at 1 (U.S. Feb. 3, 2021). ↑
  34. The Fralin Museum of Art at the University of Virginia, Nazi Era Restitution Talk with UVA Alumna and Attorney Eden Burgess, COLL’96 (presented Feb. 23, 2021) (viewed via Youtube recording Feb. 27, 2021). ↑
  35. Brief for Peter Toren as Amicus Curiae Supporting Respondents at 2, Federal Republic of Germany v. Philipp, No. 19-351, slip op. at 1 (U.S. Feb. 3, 2021); Notice of Recent Decisions and Request for Entry of Briefing Schedule at 2, Toren v. Federal Republic of Germany, (D. D.C. Feb. 8, 2021) (No. 16-cv-1885). ↑
  36. See The Fralin Museum of Art at the University of Virginia, supra note 34; Nicholas O’Donnell, LinkedIn (last visited Apr. 2, 2021). ↑

About the Author: Laura Michiko Kaiser is a third-year law student at The George Washington University Law School and legal intern at the Center for Art Law. Prior to law school, she worked as a paralegal in New York City. Laura earned her B.A. in Comparative Literature from New York University and completed course work in studio art, film, international literature, and cultural heritage. She is passionate about the art law field and hopes to be an attorney and advocate for artists and designers.

Disclaimer: This article is for educational purposes only and is not meant to provide legal advice. Readers should not construe or rely on any comment or statement in this article as legal advice. For legal advice, readers should seek a consultation with an attorney.

Post navigation

Previous Oklahoma to France and Back Again? A Case of Split-Custody of Nazi-Looted Art
Next A Blow to Pop Art: Case Review of Warhol v. Goldsmith (2021)

Related Art Law Articles

Screen shot from Google scholar of different Warhol cases
Art lawCase ReviewArt Law

Degrees of Transformation: Andy Warhol’s 102 minutes of fame before the Supreme Court

November 17, 2022
Art lawArt Law

“Outsider Artists” and Inheritance Law: What Happens to an Artist’s Work When They Die Without a Will?

November 11, 2022
Art lawCase ReviewArt LawCase Review

Case Review: US v. Philbrick (2022)

November 7, 2022
Center for Art Law
Center for Art Law

Follow us on Instagram for the latest in Art Law!

A recent report by the World Jewish Restitution Or A recent report by the World Jewish Restitution Organization (WRJO) states that most American museums provide inadequate provenance information for potentially Nazi-looted objects held in their collections. This is an ongoing problem, as emphasized by the closure of the Nazi-Era Provenance Internet Portal last year. Established in 2003, the portal was intended to act as a public registry of potentially looted art held in museum collections across the United States. However, over its 21-year lifespan, the portal's practitioners struggled to secure ongoing funding and it ultimately became outdated. 

The WJRO report highlights this failure, noting that museums themselves have done little to make provenance information easily accessible. This lack of transparency is a serious blow to the efforts of Holocaust survivors and their descendants to secure the repatriation of seized artworks. WJRO President Gideon Taylor urged American museums to make more tangible efforts to cooperate with Holocaust survivors and their families in their pursuit of justice.

🔗 Click the link in our bio to read more.

#centerforartlaw #artlaw #museumissues #nazilootedart #wwii #artlawyer #legalresearch
Join us for the Second Edition of Center for Art L Join us for the Second Edition of Center for Art Law Summer School! An immersive five-day educational program designed for individuals interested in the dynamic and ever-evolving field of art law. 

Taking place in the vibrant art hub of New York City, the program will provide participants with a foundational understanding of art law, opportunities to explore key issues in the field, and access to a network of professionals and peers with shared interests. Participants will also have the opportunity to see how things work from a hands-on and practical perspective by visiting galleries, artist studios, auction houses and law firms, and speak with professionals dedicated to and passionate about the field. 

Applications are open now through March 1st!

🎟️ APPLY NOW using the link in our bio! 

#centerforartlaw #artlawsummerschool #newyork #artlaw #artlawyer #legal #lawyer #art
Join us for an informative presentation and pro bo Join us for an informative presentation and pro bono consultations to better understand the current art and copyright law landscape. Copyright law is a body of federal law that grants authors exclusive rights over their original works — from paintings and photographs to sculptures, as well as other fixed and tangible creative forms. Once protection attaches, copyright owners have exclusive economic rights that allow them to control how their work is reproduced, modified and distributed, among other uses.

Albeit theoretically simple, in practice copyright law is complex and nuanced: what works acquire such protection? How can creatives better protect their assets or, if they wish, exploit them for their monetary benefit? 

🎟️ Grab tickets using the link in our bio! 

#centerforartlaw #artlaw #legal #research #lawyer #artlawyer #bootcamp #copyright #CLE #trainingprogram
In October, the Hispanic Society Museum and Librar In October, the Hispanic Society Museum and Library deaccessioned forty five paintings from its collection through an auction at Christie's. The sale included primarily Old-Master paintings of religious and aristocratic subjects. Notable works in the sale included a painting from the workshop of El Greco, a copy of a work by Titian, as well as a portrait of Isabella of Portugal, and Clemente Del Camino y Parladé’s “El Columpio (The Swing). 

The purpose of the sale was to raise funds to further diversify the museum's collection. In a statement, the institution stated that the works selected for sale are not in line with their core mission as they seek to expand and diversify their collection.

🔗 Click the link in our bio to read more.

#centerforartlaw #artlawnews #artlawresearch #legalresearch #artlawyer #art #lawyer
Check out our new episode where Paris and Andrea s Check out our new episode where Paris and Andrea speak with Ali Nour, who recounts his journey from Khartoum to Cairo amid the ongoing civil war, and describes how he became involved with the Emergency Response Committee - a group of Sudanese heritage officials working to safeguard Sudan’s cultural heritage. 

🎙️ Click the link in our bio to listen anywhere you get your podcasts! 

#centerforartlaw #artlaw #artlawyer #legal #research #podcast #february #legalresearch #newepisode #culturalheritage #sudaneseheritage
When you see ‘February’ what comes to mind? Birthd When you see ‘February’ what comes to mind? Birthdays of friends? Olympic games? Anniversary of war? Democracy dying in darkness? Days getting longer? We could have chosen a better image for the February cover but somehow the 1913 work of Umberto Boccioni (an artist who died during World War 1) “Dynamism of a Soccer Player” seemed to hit the right note. Let’s keep going, individuals and team players.

Center for Art Law is pressing on with events and research. We have over 200 applications to review for the Summer Internship Program, meetings, obligations. Reach out if you have questions or suggestions. We cannot wait to introduce to you our Spring Interns and we encourage you to share and keep channels of communication open. 

📚 Read more using the link in our bio! Make sure to subscribe so you don't miss any upcoming newsletters!

#centerforartlaw #artlaw #artlawyer #legal #research #newsletter #february #legalresearch
Join the Center for Art Law for conversation with Join the Center for Art Law for conversation with Frank Born and Caryn Keppler on legacy and estate planning!

When planning for the preservation of their professional legacies and the future custodianship of their oeuvres’, artists are faced with unique concerns and challenges. Frank Born, artist and art dealer, and Caryn Keppler, tax and estate attorney, will share their perspectives on legacy and estate planning. Discussion will focus on which documents to gather, and which professionals to get in touch with throughout the process of legacy planning.

This event is affiliated with the Artist Legacy and Estate Planning Clinic which seeks to connect artists, estate administrators, attorneys, tax advisors, and other experts to create meaningful and lasting solutions for expanding the art canon and art legacy planning. 

🎟️ Grab tickets using the link in our bio! 

#centerforartlaw #artlaw #clinic #artlawyer #estateplanning #artistlegacy #legal #research #lawclinic
Authentication is an inherently uncertain practice Authentication is an inherently uncertain practice, one that the art market must depend upon. Although, auction houses don't have to guarantee  authenticity, they have legal duties related to contract law, tort law, and industry customs. The impact of the Old Master cases, sparked change in the industry including Sotheby's acquisition of Orion Analytical. 

📚 To read more about the liabilities of auction houses and the change in forensic tools, read Vivianne Diaz's published article using the link in our bio!
Join us for an informative guest lecture and pro b Join us for an informative guest lecture and pro bono consultations on legacy and estate planning for visual artists.

Calling all visual artists: join the Center for Art Law's Artist Legacy and Estate Planning Clinic for an evening of low-cost consultations with attorneys, tax experts, and other arts professionals with experience in estate and legacy planning.

After a short lecture on a legacy and estate planning topic, attendees with consultation tickets artist will be paired with one of the Center's volunteer professionals (attorneys, appraisers and financial advisors) for a confidential 20-minute consultation. Limited slots are available for the consultation sessions.

Please be sure to read the entire event description using the LinkedIn event below.

🎟️ Grab tickets using the link in our bio!
On May 24, 2024 the UK enacted the Digital Markets On May 24, 2024 the UK enacted the Digital Markets, Competition and Consumers Act 2024 (DMCC). This law increases transparency requirements and consumer rights, including reforming subscription contracts. It grants consumers cancellation periods during cooling-off times. 

Charitable organizations, including museums and other cultural institutions, have concerns regarding consumer abuse of this option. 

🔗 Read more about this new law and it's implications in Lauren Stein's published article, including a discussion on how other jurisdictions have approached the issue, using the link in our bio!
Don't miss our on our upcoming Bootcamp on Februar Don't miss our on our upcoming Bootcamp on February 4th! Check out the full event description below:

Join the Center for Art Law for an in-person, full-day training aimed at preparing lawyers for working with art market participants and understanding their unique copyright law needs. The bootcamp will be led by veteran art law attorneys, Louise Carron, Barry Werbin, Carol J. Steinberg, Esq., Scott Sholder, Marc Misthal, specialists in copyright law.

This Bootcamp provides participants -- attorneys, law students, law graduates and legal professionals -- with foundational legal knowledge related to copyright law for art market clients. Through a combination of instructional presentations and mock consultations, participants will gain a solid foundation in copyright law and its specificities as applied to works of visual arts, such as the fair use doctrine and the use of generative artificial intelligence tools.

🎟️ Grab tickets using the link in our bio!
The expansion of the use of collaborations between The expansion of the use of collaborations between artists and major consumer corporations brings along a myriad of IP legal considerations. What was once seen in advertisement initiatives  has developed into the creation of "art objects," something that lives within a consumer object while retaining some portion of an artists work. 

🔗 Read more about this interesting interplay in Natalie Kawam Yang's published article, including a discussion on how the LOEWE x Ghibli Museum fits into this context, using the link in our bio.
  • About the Center
  • Contact Us
  • Newsletter
  • Upcoming Events
  • Internship
  • Case Law Database
  • Log in
  • Become a Member
  • Donate
DISCLAIMER

Center for Art Law is a New York State non-profit fully qualified under provision 501(c)(3)
of the Internal Revenue Code.

The Center does not provide legal representation. Information available on this website is
purely for educational purposes only and should not be construed as legal advice.

TERMS OF USE AND PRIVACY POLICY

Your use of the Site (as defined below) constitutes your consent to this Agreement. Please
read our Terms of Use and Privacy Policy carefully.

© 2026 Center for Art Law