• 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
        • 2026 Art Law Conference
        • 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
        • 2026 Art Law Conference
        • 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 Our articles image/svg+xml 2021 Timothée Giet Art law image/svg+xml 2021 Timothée Giet Case Review: Free Holdings v. McCoy and Sotheby’s (2023)
Back

Case Review: Free Holdings v. McCoy and Sotheby’s (2023)

September 12, 2023

Kevin McCoy, Quantum, 2014

By Natalie Grumhaus

In 2014, Kevin McCoy and Anil Dash created what is widely considered to be the world’s first non-fungible token (NFT), titled Quantum (2014). Recently, however, McCoy’s ownership of Quantum has been called into question. In Free Holdings v. McCoy and Sotheby’s, the NFT ownership dispute was brought as a case of first impression. The court held that the original creator, Kevin McCoy, did retain all ownership rights because plaintiff neither alleged an injury sufficient for standing nor made a claim for which relief could be granted.

Free Holdings, the plaintiff, was an anonymous Canadian holding company that took advantage of an ownership loophole in minting NFTs and coined a replica of McCoy’s Quantum, in the same space that had been previously occupied by McCoy’s original NFT. The original had been transferred to a different blockchain by McCoy, shortly before it was sold at auction by Sotheby’s to Alex Amsel for $1.47 million in an online auction called Natively Digital: A Curated NFT Sale.[1] Following the Sotheby’s sale in 2021, Free Holdings brought this suit against McCoy, Sotheby’s, and Amsel, attempting to invalidate the sale and potentially cash in on some of the fame that Quantum garnered.

Facts of the Case

As discussed in this case, an NFT is a unique identifier that exists in a “blockchain,” which is a “a digital public ledger maintained on a decentralized computer system and consisting of records called blocks.”[2] These records are used for authentication and often have digital media, such as photographs, art, videos, or written records, attached to them. There is only one owner of an NFT, and there must be exactly one owner at all times.[3] The record of ownership of an NFT is easy to trace throughout the blockchain, and indeed, that is the purpose of the blockchain’s existence: a block is added to the chain with every transaction.[4]

However, Quantum was minted on an early blockchain, a spin-off of Bitcoin called Namecoin, that required users to periodically re-register the “names” of their NFT in order to retain ownership – if the original owner did not renew the name, any user was allowed to re-register it.[5] As Magistrate Judge James Cott stated, “‘there is an ongoing debate” about the status of names that expire and are then re-registered: namely, whether re-registered names become new NFTs or are the same NFTs that were previously claimed.”[6] When a name is re-registered by a new user, the name is assigned to a new blockchain, effectively “breaking” the previous chain.

According to the court and evidence in the record, there are three primary interpretations of ownership when a new user renews a domain name on Namecoin:

  1. the token is synonymous with its blockchain history and thus the re-registered name is a new token/asset and cannot claim any value of the original token;
  2. the token is not the blockchain, but rather the token’s value lies in the domain name, and therefore it is considered the same as any previous token of the same name; and
  3. the re-registration does create a new token, but it retains the history and provenance of the original new token of the same name.[7]

McCoy registered Quantum on Namecoin under the name “d41b8540cbacdf1467cdc5d17316dcb672c8b43235fa16cde98e79825b68709a” on May 2, 2014.[8] The registration included a notable disclaimer with it, distinguishing property from deed to property:

. . . A UTXO, the thing that transfers ownership [between] holders of public/private key pairs, is a DEED to property but NOT property itself. The property that the Namecoin blockchain was built to cryptographically secure ownership of, provided all recurring fees have been paid to the protocol, is a unique plot of digital space known as a Name. As such, Names, along with the history of Values associated to them, are the NFT property.[9]

This would seem to align with the first theory of ownership described above. In accordance with Namecoin’s policy, the name providing a digital record for Quantum expired in January 2015.[10] Although McCoy moved the chain data from Namecoin to Ethereum, to “bring this early work back into the present day” on May 28, 2021,[11] Free Holdings had already taken advantage of the lapsed, but not destroyed, original location of Quantum and “asserted title” to the file and the accompanying chain on April 5, 2021.[12] Free Holdings showed multiple records of attempting to contact McCoy about the ownership status of Quantum via Twitter, and Caroline Moustakis, Sotheby’s Senior Vice President, via email, but Free Holdings received no response.[13]

Holding and Reasoning

After further extensive and careful background and discussion of technological nuances in the burgeoning field of NFTs and other digital art, the court held that Free Holdings lacked standing to bring the claims of lost opportunity and damages to the value of its property in the Namecoin title discussed.[14] This was because the court espoused the first theory of ownership discussed above and outlined in the disclaimer attached to the NFT name. Under this theory, when Free Holdings took advantage of the lapsed name on Namecoin to “re-register” what it believed to be the original Quantum NFT, it simply created a new NFT that happened to protect the same image as McCoy’s original NFT. In short, the court held that Free Holdings simply had no proprietary interest in Quantum.[15]

The court then considered whether, if Free Holdings had had standing, it could have alleged a sufficient claim in its complaint.[16] Although a lack of standing precludes any need to examine the sufficiency of a claim, the court determined that here it would be beneficial to continue the analysis as this was such a novel matter. Free Holdings asserted several claims: unjust enrichment;[17] slander of title and commercial disparagement,[18] which require falsity in the statements made Sotheby’s and McCoy,[19] malicious intent,[20] and damages;[21] deceptive and unlawful trade practices;[22] and damages under the Lanham Act for misrepresentation.[23] After extensive analysis, the court found that none of these claims by Free Holdings had any merit.

In its analysis of Free Holdings’ unjust enrichment claim, the court stated that it had “demonstrated nothing more than an attempt to exploit open questions of ownership in the still-developing NFT field to lay claim to the profits of a legitimate artist and creator. It does not allege that it took any part in the creation of Quantum or the blockchains used to record it.”[24]

Conclusion

Judge Cott upheld the traditional notions of ownership in this case. Although McCoy could have avoided this litigation by properly maintaining the original blockchain on which he coined the Quantum NFT, his mistake when utilizing a new and trailblazing medium did not deprive him of the rights to the work simply because someone else was more “tech savvy”. Artists can certainly rest easier knowing that they need not be technological experts in order to maintain legal ownership over their works and contributions to society and progress, as long as they can show that they did the work and did their best to maintain ownership of it. By dismissing Free Holdings’ entire suit, Judge Cott set an important precedent for digital artists and those who may try to take advantage of loopholes in the technology to exploit them: a new millennium does not make for a new law of property.

Read Free Holdings Inc. v. McCoy et al. HERE.

About the Author

Natalie Glitz Grumhaus graduated from Michigan State University College of Law in May 2023, and previously received her B.A. in Philosophy and Fine Art from Hillsdale College in 2020. Natalie was a Spring 2023 legal intern with the Center for Art Law, and now works as the Director of Audit and Compliance with Tri-Merit LLC.

Sources and References

  1. See Abby Schultz, Sotheby’s Offers Curated NFT Sale Featuring First in the Genre, Penta (May 6, 2021) https://www.barrons.com/articles/sothebys-offers-curated-nft-sale-featuring-first-in-the-genre-01620322895. ↑
  2. Free Holdings, Inc. v. McCoy et al, No. 22-CV-881, 2 (S.D.N.Y. 2023). ↑
  3. Ethereum, Non-Fungible Tokens (NFT), https://ethereum.org/en/nft, last visited Apr. 2, 2023. ↑
  4. Id. ↑
  5. See Monolithbrah.eth, et al., Defining “NFT” in Historical Context (“Defining NFT”) (Jun. 27, 2022) https://mirror.xyz/chainleft.eth/MzPWRsesC9mQflxlLo-N29oF4iwCgX3lacrvaG9Kjko. (cited in Free Holdings memorandums of law, and therefore considered “part of the record.” See Free Holdings, at fn. 1.) ↑
  6. Free Holdings, at 3. ↑
  7. Free Holdings, at 4-5. ↑
  8. Free Holdings, at 6. ↑
  9. Free Holdings, at 7. ↑
  10. Id. ↑
  11. Free Holdings, at 7, 13. ↑
  12. Free Holdings, at 7. ↑
  13. Free Holdings, at 9-11, 14. ↑
  14. Free Holdings, at 24-27. ↑
  15. Free Holdings, at 24. ↑
  16. Free Holdings, at 27. ↑
  17. Free Holdings, at 28. ↑
  18. Free Holdings, at 31. ↑
  19. Free Holdings, at 32. ↑
  20. Free Holdings, at 35. ↑
  21. Free Holdings, at 36. ↑
  22. Free Holdings, at 37. ↑
  23. Free Holdings, at 40. ↑
  24. Free Holdings, at 30. ↑

 

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 Why Estate Planning is Important for Artists and Art Collectors
Next Creativity Under Constraint: Censorship of Art is on the Up

Related Art Law Articles

Image source: Screenshot from Disney and Universal’s complaint.
Art lawAIAI and copyrightLitigation

Framing the Future? Disney and Universal Challenge Midjourney over AI-Generated Imagery

June 26, 2025
A Recent Entrance to Paradise, Creativity Machine (Source: opinion letter)
Case ReviewAI and copyrightcopyright lawLitigation

Case Review Update: Thaler v. Perlmutter (2025)

June 20, 2025
Art lawforum selectionforum shoppingLitigationlooted art litigationnazi-looted art

Prospect of Forum Shopping in Nazi-Era Looted Art Litigation

September 10, 2024
Center for Art Law
AML Guide 2025

AML Guide 2025

Explore our updated AML Survey with key insights on how evolving regulations impact the art market.

Download here
Center for Art Law

Follow us on Instagram for the latest in Art Law!

Join the Center for Art Law along with Dr Michail Join the Center for Art Law along with Dr Michail Risvas, Lecturer in Law and Co-Director of the Centre for International Law and Globalisation at the University of Southampton, on the growing role of arbitration in the art and cultural heritage sector. Drawing on his research and practical examples, Professor Risvas will examine how arbitration is being used to resolve a broad range of art-related and cultural heritage disputes. The program will compare arbitration with traditional litigation, exploring the advantages and limitations of each forum.

Through discussion of case examples and emerging trends, participants will gain a practical understanding of when arbitration may offer a more effective path than litigation and how alternative dispute resolution is shaping the future of art and cultural heritage law.

🎟️ Grab your tickets today using the link in our bio!!

#centerforartlaw #artlaw #legal #artlawyer #lawyer #arbitration #artmarket #artist #culturalheritage
And just like that, we’ve reached the end of an in And just like that, we’ve reached the end of an inaugural ART & LAW INTENSIVE ✨

Five-day program filled with challenging questions, fascinating discussions, new perspectives, and meaningful encounters at the intersection of visual art and law.

Grateful for the conversations, the knowledge shared, and everyone who made this experience so enriching. 

Until the next chapter in February!
Our last (August) newsletter received excellent vi Our last (August) newsletter received excellent viewing (in September). Welcome back from vacations! You may be pleased to know that our ART x LAW INTENSIVE in Zurich went as promised and we were delighted to have shared with and learned from so many wonderful experts, colleagues, and fellow travelers. Special guests came from North and South America, across Europe, even India and UAE. Without skipping a beat, today we onboard our Fall 2026 Interns, students from Cardozo, NYU, Smith College and other schools, and we are pleased to welcome our 2026-2027 Judith Bresler Fellow, Alexander Stanfield.

Please take a look at our SEPTEMBER newsletter and plan to join us this fall for in person or online events. Thank you to all who have reached out and offered to volunteer over the summer and recently. We are humbled by the growing interest and will keep offering learning and hands-on opportunities as the size of our organization permits. Stay calm and … 

📚 Click the link in our bio to get a curated collection of art law news, our most recent published articles, upcoming events, and much more!!

#centerforartlaw #artlaw #newsletter #september #legalresearch
What does it take to report and write a story abou What does it take to report and write a story about stolen art, war, and the people caught at the center of it?

In our latest episode of Art in Brief, Andrea and Paris are joined by Matthew Campbell, award-winning reporter for Bloomberg Businessweek and author of The Man Who Stole the Gods, to discuss his years-long investigation into the looting and trafficking of ancient Khmer artifacts from Cambodia.

We talk about Matthew’s research and reporting process, why he chose to center the story around the book’s main characters, and how he approached telling the stories of complicated figures with nuance and empathy.

🎙️ Listen to the latest episode of Art in Brief and find additional resources including a link to Matthew's book at the link in our bio!

#podcast #centerforartlaw #artinbrief #bloomberg #artcrime
What happens to an artist’s work, archives, and in What happens to an artist’s work, archives, and intellectual property after they’re gone? 

Day 2 of the 2026 CPAL Conference brought together lawyers, appraisers, foundation leaders, and arts professionals to tackle the practical realities of preserving artists’ legacies. Topics included estate planning and appraisals, copyright, archives, and the financial realities of running an artist foundation. One message was especially clear: legacy preservation starts long before an artist’s death. 

📚Read Ian Silverstein’s recap of the conference at the link in our bio!

#WYWH #ArtLaw #ArtistEstates #ArtLawConference #ArtAndLaw
Don't miss out on our upcoming Workshop on fiducia Don't miss out on our upcoming Workshop on fiduciary duties within artist-dealer relationships with speaker Aaron Haines!

This workshop will explore the fiduciary duties of gallerists toward their clients and will clarify the distinctions between contract-based relationships and the broader fiduciary obligations gallerists owe, including transparency, prudence, and the prohibition of undisclosed profits. It will also examine common conflicts of interest in the art world and how these fiduciary duties come into play. 

🎟️ Grab your tickets today using the link in our bio!

#centerforartlaw #artlaw #artlawyer #legalresearch #legal #workshop #artistrights #artist #artdealer
The Wilbur J. Cohen Federal Building in Washington The Wilbur J. Cohen Federal Building in Washington, D.C. houses five murals and four reliefs by artists including Ben Shahn and Philip Guston. 
The building is now among federal properties currently slated for sale as the government accelerates selling federal real estate. 

What happens to artworks that are physically inseparable from the buildings they were created for? And what does their uncertain future mean for America’s cultural landscape?

📚 Read Sam Brady-Myerov’s latest article at the link in our bio!

#ArtLaw #CenterforArtLaw #NewDealArt #PublicArt #CulturalHeritage
Did you know the portrait of George Washington on Did you know the portrait of George Washington on the $1 bill traces back to a painting by Gilbert Stuart? 

As the US celebrates its 250th anniversary, one of our latest articles explores how Stuart fought to control the reproduction of his Washington portraits at a time when U.S. copyright law did not yet protect paintings. 

📚 Read the full article by Hannah Gadway at the link in our bio! 

#ArtLaw #America250 #GilbertStuart #GeorgeWashington #CopyrightLaw
The culture of dupes is continuing to plague artis The culture of dupes is continuing to plague artists. Those like Lauren Horn and Maggie Stephenson have been victims of others creating copycats of their work and selling it as their own.

Read KimberMarie's new article to understand the impact this issue has on artists and other communities along with ways to push back against the problem.

📚 Check out the full article using the link in our bio!!

#centerforartlaw #artlaw #legal #legalresearch #artlawyer #dupes #counterfeits #artistrights #artists
Any interest in volunteering to help work with our Any interest in volunteering to help work with our Nazi-Era Looted Art Restitution Cases Project? Listen to Natasha describe her work and the cases she's had the chance to study.

📚 Click the link in our bio to learn more about the project and how to join!

#centerforartlaw #artlaw #restitution #art #museums #artlawyer #legal #legalresearch
Who owns Hollywood’s past? 🎬📸 A thrifted box of 1 Who owns Hollywood’s past? 🎬📸

A thrifted box of 1930s photographs of actress Marion Davies opens up a much bigger question: who owns the image and the rights behind it? 

One of our latest articles explores the story behind these photographs, including MGM studio stamps, Davies’s handwritten dedication, and the distinction between owning a physical photograph and owning the intellectual property rights in its image.

📚To read the full story by Irina Tarsis, head to the link in our bio

https://itsartlaw.org/art-law/who-owns-hollywoods-past/ 

#ArtLaw #CopyrightLaw #MarionDavies #HollywoodHistory #CulturalHeritage
Join us on September 18th for an Art and Law Works Join us on September 18th for an Art and Law Workshop on fiduciary duties within artist-dealer relationships with speaker Aaron Haines.

This workshop will explore the fiduciary duties of gallerists toward their clients and will clarify the distinctions between contract-based relationships and the broader fiduciary obligations gallerists owe, including transparency, prudence, and the prohibition of undisclosed profits. It will also examine common conflicts of interest in the art world and how these fiduciary duties come into play. 

🎟️ Grab your tickets today using the link in our bio!

#centerforartlaw #artlaw #artlawyer #legalresearch #legal #workshop #artistrights #artist #artdealer
  • 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