• 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
      • 2025
    • Internship and Fellowship
    • Judith Bresler Fellowship
  • Case Law Database
  • 2025 Year-End Appeal
  • Log in
  • Become a Member
  • Donate
  • 2025 Year-End Appeal
  • 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
      • 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 Kapoor’s Assistant Pleads Guilty to Possession of Illicit Antiquities
Back

Kapoor’s Assistant Pleads Guilty to Possession of Illicit Antiquities

January 7, 2014

logo

By Angelea Selleck

In late November 2013, Aaron Freedman pled guilty in New York Supreme Court to one count of criminal conspiracy and five counts of possession of stolen property worth $35 million. Freedman, 41, was working at the now closed Art of the Past gallery owned by Subhash Kapoor. Freedman spent nearly twenty years managing the details of Kapoor’s gallery. Art of the Past closed in 2012 after federal agents raided storage facilities associated with Kapoor upon suspicion of smuggled illicit antiquities. The agents seized 90 items totaling to about $100 million.

Freedman admitted in Court to creating fake documentation and helping Kapoor import stolen antiquities from Central and South East Asia: India, Afghanistan, Pakistan and Cambodia. In addition, he admitted to creating false provenance documents, liaising with buyers and paying off smugglers.

As part of his plea, Freedman agreed to help Manhattan and federal investigators with their prosecution of Kapoor, who is accused of smuggling millions of dollars in antiquities from India into the United States. Federal agents claim that he is “one of the most prolific commodities smugglers in the world”. Kapoor is in custody in India where he is facing trial as the mastermind of a multi-million dollar looting ring.

Kapoor’s arrest in India in July 2012 has sparked a debate over the effectiveness of India’s 1972 Antiquities and Art Treasures Act, which states, among other things, that no art object more that 100 years old may be removed from the country without a permit. The Act aims at diminishing looting and fraudulent dealings of India’s antiquities but seems to have produced the opposite effect. Namely, in the past few decades several antiquities from Indian temples and heritage sites have been auctioned and bought abroad.

In light of the fact that Kapoor had sold antiquities to museums and galleries worldwide this is a complex case to tackle legally. For example, Freedman admitted helping Kapoor sell the $5 million stolen statue of Shiva Natarja to the National Gallery of Australia in 2008. The New York Supreme Court documents state that the statue was owned by the Central Government of India at the time it was stolen from the Sivan Temple in Ariyalur District of Tamil Nadu. However, it is uncertain whether the statue was ordered to be looted or if the gallery bought it after it had been acquired by Kapoor.  In any case, the National Gallery of Australia is now taking the steps to return the statue, as well as filing a lawsuit against Kapoor.

The illicit trade of antiquities has plagued the art world for decades and still flourishes in many areas of the world. There are few effective legal tools to combat smuggling of antiquities. However, according to UNESCO’s 1970 Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property, all stolen and smuggled items must be returned to the country of origin upon request. Therefore, at least in theory, India should be able to recover their objects affiliated with Kapoor. Hopefully other museums are taking note of what is happening at the National Gallery of Australia and will look into the provenance and legitimacy of the documentation of their purchased antiquities.

Freedman is due back to court on February 4, 2014 for sentencing and his lawyer confirms that his client is “sincerely and genuinely remorseful and repentant and he has taken significant steps toward making amends.”

Sources:

  • Mashberg, Tom. 2013. Assistant to accused antiquities smuggler pleads guilty to possessing looted items. New York Times. Found at: http://artsbeat.blogs.nytimes.com/2013/12/04/assistant-to-accused-antiquities-smuggler-pleads-guilty-to-possessing-looted-items/
  • Mease, Alyssa. 2013. Princeton man pleads guilty to conspiring to sell $35m of stolen Indian antiquities. New Jersey.  Found at: http://www.nj.com/mercer/index.ssf/2013/12/princeton_man_charged_with_conspiring_to_sell_35m_of_indian_antiquities.html
  • “Guilty plea: Kapoor’s gallery manager cops to six criminal counts.” 2013. Chasing Aphrodite. Found: http://chasingaphrodite.com/2013/12/05/guilty-plea-kapoors-gallery-manager-cops-to-six-criminal-counts/
  •  Boland, Michaela. 2013. “Gallery bought $11m worth of art from ‘smuggler’ Subhash Kapoor. The Australian. Found at: http://www.theaustralian.com.au/arts/gallery-bought-11m-worth-of-art-from-smuggler-subhash-kapoor/story-e6frg8n6-1226761365873#
  •  1972 Antiquities and Art Treasures Act http://asi.nic.in/pdf_data/8.pdf%5Bvi%5D Sethi, Atul. Sell don’t smuggle. India Times. Found at: http://articles.timesofindia.indiatimes.com/2012-08-26/special-report/33401711_1_subhash-chandra-kapoor-antique-lovers-art-treasures-act
  •  Pogrebin, R. and Flynn K. 2012. Museums studying dealer’s artifacts. New York Times. Found at: http://www.nytimes.com/2012/07/28/arts/design/us-asks-museums-to-examine-collections.html?_r=0
  •  The People of the State of New York vs. Aaron Freedman. Docket: 2013NY091098. Found at: http://www.scribd.com/fullscreen/189440692?access_key=key-tcqmc1tgw0j5ug2m71h&allow_share=false&escape=false&show_recommendations=false&view_mode=slideshow

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 Calder Estate Fraud Claim Dismissed: Judge Finds Allegations “An Incoherent Stew of Irrelevance and Innuendo”
Next Sotheby’s to auction restituted Pissarro’s “Boulevard Montmartre”

Related Posts

Liquidating Assets When the Asset is an Andy Warhol

May 4, 2013

Who Owns Anne Frank’s Legacy: The Frank Museum or the Frank Family?

July 14, 2013

Taxi Cabs: perfect getaway vehicles for art heists?

November 23, 2010
Center for Art Law
Sofia Tomilenko Let there be light!

A Gift for Us

this Holiday Season

Thank you to Sofia Tomilenko (the artist from Kyiv, Ukraine who made this Lady Liberty for us) and ALL the artists who make our life more meaningful and vibrant this year! Let there be light in 2026!

 

Last Gift of 2025
Guidelines AI and Art Authentication

AI and Art Authentication

Explore the new Guidelines for AI and Art Authentication for the responsible, ethical, and transparent use of artificial intelligence.

Download here
Center for Art Law

Follow us on Instagram for the latest in Art Law!

Our interns do the most. Check out a day in the li Our interns do the most. Check out a day in the life of Lauren Stein, a 2L at Wake Forest, as she crushes everything in her path. 

Want to help us foster more great minds? Donate to Center for Art Law.

🔗 Click the link below to donate today!

https://itsartlaw.org/donations/new-years-giving-tree/ 

#centerforartlaw #artlaw #legal #legalresearch #caselaw #lawyer #art #lawstudent #internships #artlawinternship
Paul Cassier (1871-1926 was an influential Jewish Paul Cassier (1871-1926 was an influential Jewish art dealer. He owned and ran an art gallery called Kunstsalon Paul Cassirer along with his cousin. He is known for his role in promoting the work of impressionists and modernists like van Gogh and Cézanne. 

Cassier was seen as a visionary and risk-tasker. He gave many now famous artists their first showings in Germany including van Gogh, Manet, and Gaugin. Cassier was specifically influential to van Gogh's work as this first showing launched van Gogh's European career.

🔗 Learn more about the impact of his career by checking out the link in our bio!

#centerforartlaw #artlaw #legalresearch #law #lawyer #artlawyer #artgallery #vangogh
No strike designations for cultural heritage are o 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. 

This presentation discusses 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 your tickets using the link in our bio!

#centerforartlaw #artlaw #artlawyer #legalresearch #lawyer #culturalheritage #art #protection
What happens when culture becomes collateral damag What happens when culture becomes collateral damage in war?
In this episode of Art in Brief, we speak with Patty Gerstenblith, a leading expert on cultural heritage law, about the destruction of cultural sites in recent armed conflicts.

We examine the role of international courts, the limits of accountability, and whether the law can truly protect history in times of war.

We would like to also thank Rebecca Bennett for all of her help on this episode. 

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

#centerforartlaw #artlaw #legalresearch #artlawyer #lawyer #podcast #artpodcast #culturalheritage #armedconflict #internationallaw
Where did you go to recharge your batteries? Where did you go to recharge your batteries?
Let there be light! Center for Art Law is pleased Let there be light! Center for Art Law is pleased to share with you a work of art by Sofia Tomilenko, an illustration artist from Kyiv, Ukraine. This is Sofia's second creation for us and as her Lady Liberty plays tourist in NYC, we wish all of you peace and joy in 2026! 

Light will overcome the darkness. Світло переможе темряву. Das Licht wird die Dunkelheit überwinden. La luz vencerá la oscuridad. 

#artlaw #peace #artpiece #12to12
Writing during the last days and hours of the year Writing during the last days and hours of the year is de rigueur for nonprofits and what do we get?

Subject: Automatic reply: Thanks to Art Law! 

"I am now on leave until January 5th. 
. . .
I will respond as soon as I can upon on my return. For anything urgent you may contact ..."

Well, dear Readers, Students, Artists and Attorneys, we see you when you're working, we know when you're away, and we promise that in 2026 Art Law is coming to Town (again)!

Best wishes for 2026, from your Friends at the Center for Art Law!

#fairenough #snowdays #2026ahead #puttingfunback #fundraising #EYO2025
Less than a week left in December and together we Less than a week left in December and together we have raised nearly $32,000 towards our EOY fundraising $35,000 goal. If we are ever camera shy to speak about our accomplishments or our goals, our work and our annual report speak for themselves. 

Don’t let the humor and the glossy pictures fool you, to reach our full potential and new heights in 2026, we need your vote of confidence. No contribution is too small. What matters most is knowing you are thinking of the Center this holiday season. Thank you, as always, for your support and for being part of this community! 

#artlaw #EOYfundraiser #growingin2026 #AML #restitution #research #artistsright #contracts #copyright #bringfriends
This summer, art dealer James White and appraiser This summer, art dealer James White and appraiser Paul Bremner pleaded guilty for their participation in the third forgery ring of Norval Morisseau works uncovered by Canadian authorities. Their convictions are a key juncture in Canda's largest art fraud scheme, a scandal that has spanned decades and illuminated deep systemic failures within the art market to protect against fraud. 

Both White and Bremner were part of what is referred to as the 'Cowan Group,' spearheaded by art dealer Jeffrey Cowan. Their enterprise relied on Cowan fabricating provenance for the forged works, which he claimed were difficult to authenticate. 

In June, White, 87, pleaded guilty to to creating forged documents and possessing property obtained by crime for the purpose of trafficking. Later, in July, Paul Bremner pleaded guilty to producing and using forged documents and possessing property obtained through crime with the intent of trafficking. While Bremner, White, and Cowan were all supposed to face trial in the Fall, Cowan was the only one to do so and was ultimately found guilty on four counts of fraud. 

🔗 Click the link in our bio to read more.

#centerforartlaw #artlaw #legalresearch #artfraud #artforgery #canada #artcrime #internationallaw
It's the season! It's the season!
In 2022, former art dealer Inigo Philbrick was sen In 2022, former art dealer Inigo Philbrick was sentenced to seven years in prison for committing what is considered one of the United States' most significant cases of art fraud. With access to Philbrick's personal correspondence, Orlando Whitfield chronicled his friendship with the disgraced dealer in a 2024 memoir, All that Glitters: A Story of Friendship, Fraud, and Fine Art. 

For more insights into the fascinating story of Inigo Philbrick, and those he defrauded, read our recent book review. 

🔗 Click the link in our bio to read more!

#centerforartlaw #legalresearch #artlaw #artlawyer #lawer #inigophilbrick #bookreview #artfraud
The highly publicized Louvre heist has shocked the The highly publicized Louvre heist has shocked the globe due to its brazen nature. However, beyond its sheer audacity, the heist has exposed systemic security weaknesses throughout the international art world. Since the theft took place on October 19th, the French police have identified the perpetrators, describing them as local Paris residents with records of petty theft. 

In our new article, Sarah Boxer explores parallels between the techniques used by the Louvre heists’ perpetrators and past major art heists, identifying how the theft reveals widespread institutional vulnerability to art crime. 

🔗 Click the link in our bio to read more!

#centerforartlaw #artlaw #legalresearch #artcrime #theft #louvre #france #arttheft #stolenart
  • 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