• 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 AL Clippings image/svg+xml 2021 Timothée Giet Federal Prosecutors File Court Papers in Case For Repatriation of Cambodian Statue
Back

Federal Prosecutors File Court Papers in Case For Repatriation of Cambodian Statue

August 30, 2012

A new development occurred this week in the fight over a priceless Cambodian statue. This past Monday, August 27, federal prosecutors filed court papers on behalf of Cambodia accusing Sotheby’s of knowing that the 10th century work–which was to be sold at auction in New York City–“was an important piece of cultural property that had been stolen” from its homeland during the violent upheavals of the Khmer Rouge regime in the 1970s. For previous posts chronicling the story, please see: Global Art Conflict in New York, and Sotheby’s Takes Action Against Cambodian Property Claim.

The case began over a year ago, when the Cambodian government asked the United States for help in recovering the thousand year old statue. Experts believed it to be stolen during the bloody rule of the Khmer Rouge (1975-1979), a time at which looters took advantage of the chaos to plunder long inaccessible temples and remove priceless antiquities. The statue was to be sold at Sotheby’s on March 24, 2011 on behalf of Ruspoli di Poggio Suasa, a Belgian collector who acquired it in 1975 from a London antiquities dealer. Amid allegations, Sotheby’s withdrew the statue on the day it was to be sold.

The sandstone masterwork, whose estimated value is $2-$3 million, is five feet tall and weighs 250 pounds. It is one of a pair of warriors in a battle-ready stance from a remote temple complex in Koh Ker. Archaeologists and Cambodian officials have also located the very pedestal and feet of the statue at the site. The statue is approximately 200 years older than the famed sculptures at Angkor Wat, which is 60 miles away.

In June, Sotheby’s asked a federal judge in Manhattan to dismiss the civil action to force the return of the statue. For its part, Sotheby’s claimed that its owner had “clear title” to the work, which was purchased at London’s Spink & Son in December, 1975, even though the records detailing how the company acquired that statue are no longer available.

Jane A. Levine, a senior vice president and worldwide compliance director for Sotheby’s, has said that the auction house was “aware that there are widely divergent views on how to resolve conflicts involving cultural heritage objects.” She stated that the statue could have been removed at any time during its thousand year history and that Cambodia “did not identify any basis to contest the owner’s title to the property and did not allege that it would be unlawful for Sotheby’s to sell the statue.” She also stated that “Sotheby’s approach to the Khmer sculpture is one of responsible and ethical market behavior and international cooperation between private and public entities.”

The prosecution’s filing contains statements from two heritage law experts who state that Cambodian and British law dictate that the statue be treated as stolen property. Matthew Rendall, one of the experts, said that the statue is covered under Cambodian statutes, royal orders, and decrees dating to the early 1900s that declare such items to be the “exclusvie” and “immovable” property of the government. Mr. Rendall noted five occasions between 1985 and 1997 that Sotheby’s returned sculptures to Cambodia after claims they had been looted sometime after 1970.

Source: The New York Times

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 “Caveat Emptor”: The New York Times Examines Buying Art Online
Next Fossils Dealer Wants his Dinosaur Skeleton Back

Related Art Law Articles

CfAL photo from Rietberg Museum
Art law

Inspiration and Investment: The Benin Bronzes in Western Art and the Market

September 21, 2026
Italy's Bill 2834 A Pathway Toward Restituting Jewish Owned Art
Art lawItalylegislative historyNazi-era looted art

Italy’s Bill 2834: A Pathway Toward Restituting Jewish-Owned Art

September 17, 2026
CfAL Office Photo
AL Clippings

New York City’s Salary Transparency Law In Effect (2022)

September 17, 2026
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!

The Gelman Collection, one of the most significant The Gelman Collection, one of the most significant collections of modern Mexican art, is at the center of an ongoing legal and financial controversy. With works by Frida Kahlo, Diego Rivera, María Izquierdo, and others, the collection raises complex questions about the protections afforded to National Artistic Monuments under Mexican law. 

Paula Gutierrez de Villasante examines what the collection's uncertain future could mean for Mexico’s cultural heritage. 

📚Read the full article at the link in our bio!

#ArtLaw #CulturalHeritage #MexicanArt #FridaKahlo #ArtFinance
Learn about Artist Corporations-- exploring what t Learn about Artist Corporations-- exploring what they are, how they work, and the legal and practical considerations for artists!

Please note, this is a hybrid event. Participants are welcome to attend either in person or online via Zoom..

Join the Center for Art Law for Artist Corporations: A New Legal Framework for Creative Practice, a conversation exploring the Colorado Artist Companies Act and what it could mean for artists, lawyers, policymakers, and the broader creative economy.

In 2025, Colorado enacted Senate Bill 133, creating the Artist Corporation (A-Corp); a first-of-its-kind legal business structure designed specifically to recognize and support artists and creative professionals. The legislation offers a new model for balancing artistic practice with sustainable business and legal protections, raising important questions about how the law can better serve creative communities.

Join us for a discussion featuring Lindsay Korotkin, Yancey Strickler, and Sarah Darlene, who will examine the origins of the Artist Corporation, the legislative process behind its creation, and its practical implications for working artists. Drawing on their respective backgrounds in law, advocacy, entrepreneurship, and artistic practice, the panelists will discuss how this innovative legal framework came to fruition, how artists may benefit from it, and whether similar legislation could shape the future of creative industries beyond Colorado.

Following the panel discussion, attendees will have the opportunity to participate in a live audience Q&A as well as a Networking Reception. 

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

#centerforartlaw #artlaw #colorado #artistissues
For more than two decades, thousands of counterfei For more than two decades, thousands of counterfeit works attributed to Canadian Anishinaabe artist Norval Morrisseau circulated through galleries, auctions, and private collections. The resulting forgery scandal has made authenticating Morrisseau’s work increasingly difficult and raised larger questions about protecting artists' legacies and the integrity of the art market. 

In her article, Victoria Cook examines the history of the Morrisseau forgery ring and how emerging technologies could help distinguish genuine works from fakes. 

📚 Read the full article at the link in our bio!

1st 📷: Norval Morrisseau, Observations of the Astral World (c. 1994), acrylic on canvas, 236 x 514 cm, National Gallery of Canada, Ottawa

#ArtLaw #ArtForgery #NorvalMorrisseau #IndigenousArt #CanadianArt
Don't miss grabbing tickets for our upcoming Collo Don't miss grabbing tickets for our upcoming Colloquium 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
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
  • 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