• 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 AL Clippings image/svg+xml 2021 Timothée Giet Untitled but taxable: Face-off between the IRS and the Basquiat heirs
Back

Untitled but taxable: Face-off between the IRS and the Basquiat heirs

November 18, 2013

JEAN-MICHEL BASQUIAT, "SANS TITRE," Est. value ($500,000-800,000)

JEAN-MICHEL BASQUIAT, “SANS TITRE,” Est. value ($500,000-800,000) — to be auctioned by Christie’s Paris, Dec. 2013.

For those attending the 2013 National Conference of the Appraisers Association of America, in New York last week (Nov. 8-10), that Basquiat surviving sisters are suing the IRS rings familiar. After all, the conference organizers built in a lot of IRS material into the program, including “Current Issues at the IRS”, “De-mystifying the IRS:Preparing a Successful Report for Tax Purposes,” “Recent Complex Art and Tax Law Cases,” and “Blockage Discount: A Primer.” To recap, for tax purposes, value of art may or may not depend on the Fair Market Value of the object depending on whether the valuation is being done for the artist or the collector, for charitable contribution purposes or estate appraisal. For example, if a living artist decided to donate his art, he may only deduct the cost of paints, brushes and canvas regardless of the fact that his or her works sell for significantly larger sums in the primary and secondary market. Works appraised in excess of $3,000 need to have comparables included in the valuation. Depending on the appraisal, the pieces of art work may be referred to the IRS Art Appraisal Services team for audit of the evaluation. Depending on their findings, the appraisal is accepted, adjusted in part or rejected. Taxpayers may appeal the determination, in which case the same team, but a different appraiser on the IRS payroll, advises the IRS Appeals Officer on the case and the weaknesses of both sides to determine the hazards of litigating or settling a particular appeal. Taxpayers dissatisfied with the appeal process may proceed to litigation in the Unite States Tax Court. Incidentally, pursuant to IRS Internal Revenue Manual, the Service may penalize appraisers for promoting abusive tax shelters or aiding and abetting understatement of tax liability. See Sec. 20.1.12.1.

In April 2014, the US Tax Court will hear the case brought by Lisane and Jeanine Basquiat, sisters of the famous artist Jean-Michel Basquiat, on the grounds that the Service overvalued the artist’s estate. Jean-Michel died in 1988 at the age of 28. For decades the his estate was administered by his father, Gerard Basquiat. Gerard, who died in July 2013, brought the initial complaint. As reported elsewhere, Basquiat’s mother died in 2008 and her portion of the estate was divided between the sisters and the father of the artist. At that time, the estate was appraised by Sotheby’s at $36 million. Gerard paid $8.5 million in estate taxes. Independently, the Service audited the Sotheby’s appraisal and estimated the basis to be $138 million. Half of the total was subject to tax and the family owed the IRS another $7.30 million in taxes. Gerard challenged the audit arguing that the Service did not adjust for a blockage discount — after all, selling the entire collection at once would overwhelm the market and result in lower prices realized.

The idea to apply the blockage discount appeals to taxpayers because they seek to reduce estate taxes. However, the heirs should be aware that there is a possibility of paying more in taxes if the collection sells above the discounted valuation.

The Service is well familiar with the concept of the “blockage discount” and it recognizes that “a [blockage] discount may be allowed where a large quantity of any one type of art is offered on the market at one time, and would substantially depress its value.” IRS Valuation Guide (Oct 1995). “Blockage is triggered by a determination that an item’s value in the marketplace does not accurately reflect its fair market value because it is part of a bloke which cannot be sold within a reasonable time without adversely affected price.” Janis v. C.I.R., 469 F.3d 256 (2nd Cir. 2006). In fact, the amount of the discount is based on the costs of holding the inventory such as storing, insuring and otherwise maintaining the collection. There are different methodologies for calculating the discount: hypothetical, see In Estate of O’Keeffe v. C.I.R., 1992 RIA TC Memo 92,210 (1992) and the present value of the stream of sale, see Calder v. C.I.R, 85 T.C. 713, 717 (1985). Both O’Keeffee and Calder estate contained hundreds of artworks.

Another case, In Estate of Smith v. C.I.R. 57 T.C. 650 (1972), where the executors advocated for a 75% blockage discount, decided by the United States Tax Court allowed a 37% discount. The Basquiat estate contains over 1,300 works of art, including some by other artists, such as Andy Warhol, and the time will tell whether there is a deficiency in the estate tax paid. However, if the collection is estimated far below the fair market value and the Basquiat’s sisters start selling the works they will be have to pay income tax on their profit (amount earned above the value used for estate tax purposes), which is higher than the estate tax.

Sources:

IRS website; GalleristNY; DNAInfo.

 

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 After Restitution, Nazi-Seized Posters Seek a New Home
Next Gurlitt Connection: Dix’s granddaughter on Otto Dix’s paintings in Gurlitt possession

Related Posts

Art Loss Register Recovers Stolen Print in Less than Three Weeks

March 31, 2011
Mugshot of a white, middle-aged male.

Failed-Artist-Turned-Forger Sentenced to Two Years in Prison

May 17, 2012

Change in Tides: Warhol Foundation Wins Suit Against Insurance Provider

January 2, 2013
Center for Art Law
Center for Art Law

Follow us on Instagram for the latest in Art Law!

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.
We can't wait for you to join us on February 4th! We can't wait for you to join us 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!
Don't forget to grab tickets to our upcoming Collo Don't forget to grab tickets to our upcoming Colloquium, discussing the effectiveness of no strike designations in Syria, on February 2nd. Check out the full event description below:

No strike designations for cultural heritage are one mechanism by which countries seek to uphold the requirements of the 1954 Hague Convention. As such, they are designed to be key instruments in protecting the listed sites from war crimes. Yet not all countries maintain such inventories of their own whether due to a lack of resources, political views about what should be represented, or the risk of misuse and abuse. This often places the onus on other governments to create lists about cultures other than their own during conflicts. Thus, there may be different lists compiled by different governments in a conflict, creating an unclear legal landscape for determining potential war crimes and raising significant questions about the effectiveness of no strikes as a protection mechanism. 

Michelle Fabiani will discuss current research seeking to empirically evaluate the effectiveness of no strike designations as a protection mechanism against war crimes in Syria. Using data on cultural heritage attacks from the height of the Syrian Conflict (2014-2017) compiled from open sources, a no strike list completed in approximately 2012, and measures of underlying risk, this research asks whether the designations served as a protective factor or a risk factor for a given site and the surrounding area. Results and implications for holding countries accountable for war crimes against cultural heritage are discussed. 

🎟️ Grab tickets using the link in our bio!

#centerforartlaw #artlaw #culturalheritage #lawyer #legalreserach #artlawyer
Don't miss our up coming in-person, full-day train Don't miss our up coming 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! 

#centerforartlaw #artlaw #legal #research #lawyer #artlawyer #bootcamp #copyright #CLE #trainingprogram
In order to fund acquisitions of contemporary art, In order to fund acquisitions of contemporary art, The Phillips Collection sold seven works of art from their collection at auction in November. The decision to deaccession three works in particular have led to turmoil within the museum's governing body. The works at the center of the controversy include Georgia O'Keefe's "Large Dark Red Leaves on White" (1972) which sold for $8 million, Arthur Dove's "Rose and Locust Stump" (1943), and "Clowns et pony" an 1883 drawing by Georges Seurat. Together, the three works raised $13 million. Three board members have resigned, while members of the Phillips family have publicly expressed concerns over the auctions. 

Those opposing the sales point out that the works in question were collected by the museum's founders, Duncan and Marjorie Phillips. While museums often deaccession works that are considered reiterative or lesser in comparison to others by the same artist, the works by O'Keefe, Dove, and Seurat are considered highly valuable, original works among the artist's respective oeuvres. 

The museum's director, Jonathan P. Binstock, has defended the sales, arguing that the process was thorough and reflects the majority interests of the collection's stewards. He believes that acquiring contemporary works will help the museum to evolve. Ultimately, the controversy highlights the difficulties of maintaining institutional collections amid conflicting perspectives.

🔗 Click the link in our bio to read more.
Make sure to check out our newest episode if you h Make sure to check out our newest episode if you haven’t yet!

Paris and Andrea get the change to speak with Patty Gerstenblith about how the role international courts, limits of accountability, and if law play to protect history in times of war.

🎙️ Click the link in our bio to listen anywhere you get your podcasts!
Alexander Butyagin, a Russian archaeologist, was a Alexander Butyagin, a Russian archaeologist, was arrested by Polish authorities in Warsaw. on December 4th. Butyagin is wanted by Ukraine for allegedly conducting illegal excavations of Myrmekion, an ancient city in Crimea. Located in present-day Crimea, Myrmekion was an Ancient Greek colony dating to the sixth century, BCE. 

According to Ukrainian officials, between 2014 and 2019 Butyagin destroyed parts of the Myrmekion archaeological site while serving as head of Ancient Archaeology of the Northern Black Sea region at St. Petersburg's Hermitage Museum. The resulting damages are estimated at $4.7 million. Notably, Russia's foreign ministry has denounced the arrest, describing Poland's cooperation with Ukraine's extradition order as "legal tyranny." Russia invaded and annexed Crimea in 2014.

🔗 Read more by clicking the link in our bio

#centerforartlaw #artlaw #artcrime #artlooting #ukraine #crimea
Join us on February 18th to learn about the proven Join us on February 18th to learn about the provenance and restitution of the Cranach painting at the North Carolina Museum of Art.

A beloved Cranach painting at the North Carolina Museum of Art was accused of being looted by the Nazis. Professor Deborah Gerhardt will describe the issues at stake and the evidentiary trail that led to an unusual model for resolving the dispute.

Grab your tickets today using the link in our bio!

#centerforartlaw #artlaw #legal #legalresearch #museumissues #artwork
“In the depth of winter, I finally learned that wi “In the depth of winter, I finally learned that within me there lay an invincible summer."
~ Albert Camus, "Return to Tipasa" (1952) 

Camus is on our reading list but for now, stay close to the ground to avoid the deorbit burn from the 2026 news and know that we all contain invincible summer. 

The Center for Art Law's January 2026 Newsletter is here—catch up on the latest in art law and start the year informed.
https://itsartlaw.org/newsletters/january-newsletter-which-way-is-up/ 

#centerforartlaw #artlaw #lawyer #artlawyer #legalresearch #legal #art #law #newsletter #january
Major corporations increasingly rely on original c Major corporations increasingly rely on original creative work to train AI models, often claiming a fair use defense. However, many have flagged this interpretation of copyright law as illegitimate and exploitative of artists. In July, the Senate Judiciary Committee on Crime and Counterterrorism addressed these issues in a hearing on copyright law and AI training. 

Read our recent article by Katelyn Wang to learn more about the connection between AI training, copyright protections, and national security. 

🔗 Click the link in our bio to read more!
  • 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
 

Loading Comments...
 

You must be logged in to post a comment.