• 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 Property Law, Religious Ownership and International Heritage Obligations: the Legal State of the Saint Catherine’s Monastery at stake
Back

Property Law, Religious Ownership and International Heritage Obligations: the Legal State of the Saint Catherine’s Monastery at stake

September 18, 2025

Center for Art Law UNESCO St Catherines Monastery

© Aure-Anne de Coniac

By Vivika Gerogianni and Andrew Dearman

Saint Catherine’s Monastery has stood at the foot of Mount Sinai in Egypt since its construction in the late 6th Century A.D. Designated as a UNESCO World Heritage Site in 2002, it holds unique significance to the three major Abrahamic religions and remains a popular pilgrimage destination.[1] However, a recent court ruling[2] that transferred ownership to the Egyptian state, coupled with a major redevelopment project in Sinai, have threatened the integrity of the site, causing international concern. This ruling has been heavily condemned by the Greek Orthodox Church, yet the Egyptian media insist that the ruling will not affect the monastery’s operations or status.

The History of Saint Catherine’s Monastery

Monastic tradition first reached Sinai in the late 3rd Century A.D., although Saint Catherine’s Monastery was not built until three centuries later at the behest of Byzantine emperor Justinian I.[3] The new construction enclosed the Chapel of Saint Helen, erected on the site traditionally believed to be where Moses encountered the burning bush.[4] Following the Arab conquests, the monastery experienced a period of decline, and during this time a small mosque was constructed within its walls: a rare historical example of Christianity and Islam coexisting peacefully. In these years, the monks also recovered the relics of Saint Catherine, who became the monastery’s namesake.[5] In the Ottoman period, the site reaffirmed its Orthodox identity, and to this day it remains the oldest Christian monastery still in use.[6]

Saint Catherine’s Monastery is also notable for its extensive library, which holds some of the earliest surviving codices and manuscripts.[7] Historical records in the library show that the Prophet Muhammad visited the site and, in 623 A.D., granted the monastery a letter of protection.[8] Nearly a millennium later, Napoleon Bonaparte issued a similar charter during his Egyptian campaign, once again placing the monastery under official protection.[9] Today, the monastery remains a living piece of religious and cultural heritage, inhabited by monks who maintain the ancient monastery and uphold traditional monastic rituals. They cater for the site as an interfaith pilgrimage destination and emphasise their harmonious relations with the local Bedouin tribes, as well as with the Egyptian authorities and the Greek state.[10]

The Issues in Law

On May 28, 2025, the Ismailia Court of Appeal ruled that the ancient Saint Catherine’s Monastery is the property of the Egyptian state. The case challenged a judgment of a claim filed 11 years before, when the South Sinai Governorate had issued an ultimatum to the Archbishop of the Saint Catherine Monastery and then proceeded with a civil lawsuit. Other plaintiffs included Ahmed Ragaey, the founder of ‘South Sinai Defence Front’, who had actively protested against the Monastery’s existence on the grounds that they are controlling large areas of the region and restricting access to residents.[11] After a process of amendments made to their initial claims, the Governorate’s requests were the following;

  1. The in-person eviction of the Archbishop from 71 plots of land, which are considered religious sites.
  2. A ruling to retain the buildings built on the plots in return for their demolition value.
  3. A monetary compensation from the archbishop for encroachment on these lands, which had obstructed the claimants’ right to use them.[12]

It would be essential to note that claim (1) originally included a request for eviction from 29 plots of land. In correcting their claims, the plaintiffs added a request for an additional 42 plots of land. Also, they emphasised that the Archbishop is excluded from claiming the value of the facilities on the land or any compensation.[13] Moreover, the monetary compensation requested in claim (3) was also revised, and the demanded amount was doubled, from LE 5 million to LE 10 million.[14] According to the plaintiffs, the claims should be understood to be raised against the Archbishop in his capacity and role, and not against him as an individual person.[15]

On May 30 2020, the South Sinai Court in Case No 24/2015 rejected Ragaey’s claims and dismissed all requests made by the plaintiffs. The Court did, however, require the Archbishop to satisfy claim (1) in part, obliging him to hand over the originally-cited 29 plots of land which were characterised as state property.[16]

Both the plaintiffs and the defendants appealed the 2020 verdict, with cases No 226 of 32 and No 228 of 32, respectively. The Court of Appeal then classified the claimed 71 plots of land in four different categories based on their legality and relation to the archbishop’s possession of them. Section I included land not proven to be in possession by the archbishop, Section II included land which is of religious nature to be owned by the state and possessed by the Archbsihop, Section III referred to land who’s legal nature had been previously acknowledged by preliminary sale contracts between the archbishop and the South Sinai Governate and lastly Section IV included lands from which the archbishop was to be expelled – a category which would include both religious and non-religious sites.[17]

The Position in Egyptian Law

The Church Construction Law no 80/2016 regulated the process of building Christian Churches, creating a system of formal requests to the Governorate, which can accept or reject the application for the creation of a Christian Church.[18] In its Article 7, the statute limits Church spaces to only religious use and worship, rendering any other use as “legally void.”[19] Provided this existent legal framework, the Court in its 2025 ruling established that the Archbishop’s use of the property was religious, since he was entrusted, due to his role, with the observance of the religious rites within the said land. The Court characterised the Archbishop’s use of the property as a “religious possession.”[20] Possession has to be differentiated from ownership and legal title; possession in the Egyptian legal context means the mere physical control of a property, but does not include full ownership rights such as the right to exploit and dispose of the land.

The Archbishop’s request for Section II lands was dismissed by the Court, despite the appellant’s claim that the monks had been in peaceful possession of them for 15 centuries. The Court discerned that the Archbishop did not satisfactorily prove the conditions for acquisitive ownership in their possession. Following the Court judgment, possession has to be clear and unambiguous, complete, and with the intention of ownership since the very beginning –characteristics which the Archbishop’s possession of the monastery did not adhere to.[21] The court, however, acknowledged that the Archbishop’s activity could be categorised as “religious possession,” instead of the original form of possession. In its ruling, the Court argued that reverting property ownership to the state does not override the religious use of the land, which will continue to be exercised by the monks.[22]

Following the Egyptian legal framework on real estate legislation No 114/1946, in 1980 Egyptian authorities invited all entities with undocumented landholdings to submit declarations for full ownership title and property rights.[23] Proprietary rights, as the relevant provisions outline, will be legally recognised solely when registered with the state. The Saint Catherine Monastery had then submitted 71 applications, including claims for all its land, the same 71 plots which were disputed in the 2015 case. The applications however do not amount to a registration in the state cadastre, and the Court in its recent ruling settled that land lacking a valid registered title belongs to the state (nulla titulus principle).[24] Reference to the Egyptian Civil Code, more specifically Articles 87 to 90, strengthened the Court’s decision to confer the plot to the public domain. According to the Articles, property with a historical, cultural or environmental value – all of which can be claimed to be satisfied in this case of UNESCO-protected land, can be public property.[25] Simply, since the disputed land had not been formally registered, the Egyptian Civil Code instills that property lacking an evidenced title will be property of the state and can be used as part of the public domain due to its historical and cultural importance. The Articles were interpreted broadly by the Court, eventually including chapels and the monastery under the definition of “cultural and historical” value.

As the Archbishop’s representatives presented to the Court, the Saint Catherine monastery has been consistently and continuously inhabited by the Greek Orthodox Church since the 6th century, despite its lack of registration under the current Egyptian administration. Even in times of Byzantine periods, to Ottoman Oppression, monks in the Monastery had been custodians and possessors of the space in Mount Sinai. The Court refused to recognise the argument of historical possession and continuity as a legal standing. The religious elements of the defendants’ claims were disregarded, and the Court highlighted that the case revolved around question of property law and land tenure, it was not a matter of religious liberty. Despite arguments that the religious liberty elements should be separated from the technicalities of property law, the ruling did eventually strip the Greek Orthodox Monks in Sinai from even the right of possession of certain lands. The Court’s position was furthered by the Egyptian Foreign Minister a month after the ruling, where he established that the decision does not affect in any capacity the exercise of religious freedom and does not alter the sanctity of the monastery.

As far as the Greek domestic position is concerned, in late July 2025, the Greek Parliament passed a bill which grants legal status to the Mount Sinai Monastery. The Bill intended to regulate the Monastery’s status and “to protect the historic continuity of a unique cultural centre which functions as the nucleus of peace”.[26] The Minister of Education characterises the Bill as a measure of “shielding and safeguarding the Monastery’s legal character for the first time after 15 centuries.”[27]

Protection under International law and the role of UNESCO

Egypt was amongst the first 20 countries to ratify UNESCO’s formation in 1946 and also implemented the World Heritage Convention created by the Organisation in 1972. The 1972 Convention binds all its members, including thus Egypt, and is hierarchically positioned above any domestic law, due to its higher formal force as an international law instrument. In 2002 Egypt requested the inclusion of the Saint Catherine monastery in the World Heritage list, offering it a veil of protection for its religious, spiritual and functional identity. In a contradictory manner to the current status quo, the 2002 registration of the Monastery in the World Heritage List acknowledged the Greek Orthodox Church’s ownership and its antiquities were protected by a comprehensive legal framework (such as the Protection of Antiquities Law No. 117 of 1983, the Law of Environment No. 4 of 1994, Urban harmony Law No. 114 of 2006 and Building Law No. 119 of 2008).[28] On guiding World Heritage Site Managers, the UNESCO 1972 Provisions Overview highlights that member countries shall recognise that it is “their own responsibility to safeguard the World Heritage properties in their countries … with their own resources”.[29] The Former Greek President of the Republic, in a recent statement underlined that protecting the spiritual element and the religious freedom of the Monastery is part of Egypt’s international obligation as a World Heritage Manager.[30]

The World Heritage Watch (WHW) has been continuously raising awareness about the ongoing breaches of international law vested in this Great Transifugration Project of the Saint Catherine Monastery. The World Heritage List has defined the area as one of “serenity, solitude and spirituality”; all of which elements are undeniably affected by the new developments of the Egyptian state.[31] At the 45th Session of the World Heritage Committee in 2023, UNESCO published a notice to the Egyptian state urging the halting of further action until a Heritage Impact Assessment (HIA) was firmly researched, and the UN’s constant recommendations on environmental law violations have been ignored.[32]

The Egyptian activity has also overridden more international law tools. For example, the 2003 UNESCO Convention for the Safeguarding of Intangible Cultural Heritage, as well as the 1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict, are statutory pieces that have been explicitly ratified by Egypt yet the state’s activity has been conflicting with them.

In interpreting the recent Court ruling and in navigating action moving forward, it is essential to emphasise the distinction between the Greek Orthodox monks’ ability to exercise religious freedom, which as the Egyptian state claims, is not a right which has been affected, and the right to property and ownership over those ancient sites. Even though the Egyptian official position has been absolute in settling that religious plurality remains protected despite changes in ownership, this does not defeat the argument that Egypt has been neglecting its obligations under international law, and UNESCO principles specifically.

It is not only the Greek government but also the WHW advocates themselves who are striving to raise action against the current situation and are accusing UNESCO of being overly ‘lenient’ with such a historically significant matter.[33] Early July, WHW sent UNESCO an Open Letter demanding that the site be recategorised in the list of the World Heritage Sites In Danger and is condemning Egypt’s official position, which is understood as ‘misleading and inconsistent.’[34]

Conclusion

The dispute over the Saint Catherine Monastery highlights the current tension between Egypt’s domestic property legal framework and its binding obligations under international law. Egyptian courts relied on the Civil Code and national statutory provisions in order to classify monastic occupation as simply a ‘religious possession’ different from ownership, and in doing so the legal system oversaw the century-long custodianship of the area. This approach conflicts with Egypt’s duties under the 1972 World Heritage UNESCO Convention which requires both the material and spiritual protection of the site. While the government maintains that religious freedom remains unaffected, the ruling initiated criticism both from the Greek government but also UNESCO itself. Saint Catherine Monastery’s fate will not only determine Egypt’s adherence to international law but will also test the current UNESCO framework which is designed to preserve cultural heritage.

About the Authors

Vivika Gerogianni is an LLB Law and Social Anthropology student at the University of Edinburgh and Sciences Po Paris. She has a strong passion for legal research and interdisciplinary analysis, with a particular interest in the ethical issues arising in art law. She is particularly drawn to questions of cultural heritage, the impact of emerging technologies on the arts, and the protection of artists’ intellectual property in the digital age.

Andrew Dearman is an undergraduate History of Art student at the Courtauld Institute in London. He previously worked in the antiquities department at Christie’s, and is currently a Summer 2025 Intern at the Center for Art Law. He is interested in cultural heritage policy, specifically the legal and ethical concerns surrounding the trade and restitution of antiquities.

Select Sources:

  1. UNESCO World Heritage Centre, Saint Catherine Area, WORLD HERITAGE LIST (2002), https://whc.unesco.org/en/list/954. ↑
  2. Cases Nos. 226 & 228 of 32, Ismailia Court of Appeal, Verdict of May 28, 2025, on appeal from Judgment No. 24 of 2015 (Civil Full Court, Sharm El-Sheikh), Egypt. ↑
  3. St. Catherine’s Monastery, Sinai Monasticism (History), https://www.sinaimonastery.com/index.php/en/history/sinai-monasticism. ↑
  4. Friends of Mount Sinai Monastery, Monastery – Pilgrimage, FRIENDS OF MOUNT SINAI MONASTERY, https://www.mountsinaimonastery.org/monastery#pilgrimage. ↑
  5. St. Catherine’s Monastery, Sinai Monasticism (History), https://www.sinaimonastery.com/index.php/en/history/sinai-monasticism. ↑
  6. UNESCO World Heritage Centre, Saint Catherine Area, WORLD HERITAGE LIST (2002), https://whc.unesco.org/en/list/954. ↑
  7. Mark Schrope, In the Sinai, a Global Team Is Revolutionizing the Preservation of Ancient Manuscripts, Wash. Post Mag. (Aug. 30, 2012), https://www.washingtonpost.com/lifestyle/magazine/in-the-sinai-a-global-team-is-revolutionizing-the-preservation-of-ancient-manuscripts/2012/08/30/1c203ef4-ca1f-11e1-aea8-34e2e47d1571_story.html. ↑
  8. Mohammed, Saint Catherine’s Monastery (History), https://www.sinaimonastery.com/index.php/en/history/mohammed ↑
  9. Napoleon Bonaparte, Saint Catherine’s Monastery (History), https://www.sinaimonastery.com/index.php/en/history/napoleon-bonaparte ↑
  10. The Sinai Monastery Today, Saint Catherine’s Monastery (History), https://www.sinaimonastery.com/index.php/en/history/the-sinai-monastery-today ↑
  11. Q&A on the Judicial Dispute over the Ownership of St. Catherine’s Monastery and Its Surrounding Area, Egyptian Initiative for Personal Rights (June 23, 2025), https://eipr.org/en/press/2025/06/qa-judicial-dispute-over-ownership-st-catherines-monastery-and-its-surrounding-area ↑
  12. Ibid. ↑
  13. Ibid. ↑
  14. Ibid. ↑
  15. Ibid. ↑
  16. Ibid. ↑
  17. Ibid. ↑
  18. Egypt’s Church Construction Law (Law No. 80 of 2016) (translation, unofficial), Law 80 of 2016, Translation: Egypt’s Church Construction Law (Mar. 2017) (unofficial), https://static1.squarespace.com/static/5947e4266a49635915ac0a31/t/5bf47b38758d46657aeffeab/1542748985497/March+2017+-+Church+Construction+Law+Translation.pdf ↑
  19. Ibid. ↑
  20. Egypt’s Government Must Take Specific Measures to Guarantee the Historical Rights of Saint Catherine’s Monastery, Coptic Solidarity (June 24, 2025), https://www.copticsolidarity.org/2025/06/24/egypts-government-must-take-specific-measures-to-guarantee-the-historical-rights-of-saint-catherines-monastery/ ↑
  21. Q&A on the Judicial Dispute over the Ownership of St. Catherine’s Monastery and Its Surrounding Area, Egyptian Initiative for Personal Rights (June 23, 2025), https://eipr.org/en/press/2025/06/qa-judicial-dispute-over-ownership-st-catherines-monastery-and-its-surrounding-area ↑
  22. Kate Fitz Gibbon, Egypt’s Great Transfiguration Project Threatens Saint Catherine’s Monastery, Cultural Property News (June 6, 2025), https://culturalpropertynews.org/egypts-great-transfiguration-project-threatens-saint-catherines-monastery/ ↑
  23. Ibid. ↑
  24. Ibid. ↑
  25. Dean Kalimniou, Explained: The Legal Battle Over Saint Catherine’s Monastery Property in Egypt, The Greek Herald (June 6, 2025), https://greekherald.com.au/community/church/explained-the-legal-battle-over-saint-catherines-monastery-property-in-egypt/. ↑
  26. Υπερψήφιση του νομοσχεδίου για τη Μονή Σινά: Ζαχαράκη — Ιστορική δικαίωση οι αναφορές, Insider.gr (date unknown), https://www.insider.gr/politiki/374536/yperpsifisi-toy-nomoshedioy-gia-ti-moni-sina-zaharaki-istoriki-dikaiosi-oi-anafores ↑
  27. Ibid. ↑
  28. UNESCO World Heritage Centre, Saint Catherine Area, WORLD HERITAGE LIST (2002), https://whc.unesco.org/en/list/954. ↑
  29. ICOMOS Tourism Handbook for World Heritage Site Managers, ICOMOS, International Cultural Tourism Charter (1993), https://www.icomos.org/public/publications/93touris1.pdf ↑
  30. The International Law Legal Status of the Holy Monastery of Saint Catherine of Sinai, Hellenic Institute for Strategic Studies (June 1, 2025), https://elisme.gr/en/to-diethnous-dikaiou-nomiko-kathestos-tis-ieras-monis-agias-aikaterinis-tou-sina/ ↑
  31. Mount Sinai: A Sacred Landscape Disfigured by a Megatourism Project, World Heritage Watch (Press Release, Dec. 18, 2024), https://world-heritage-watch.org/content/mount-sinai-a-sacred-landscape-disfigured-by-a-megatourism-project/ ↑
  32. World Heritage Watch Report 2025, World Heritage Watch (e.V.) (June 24, 2025), https://savetibet.de/wp-content/uploads/2025/06/WHW_Report_2025_web.pdf ↑
  33. UNESCO Urged to List Saint Catherine Monastery as World Heritage Site in Danger, The Greek Herald (July 8, 2025), https://greekherald.com.au/news/unesco-urged-to-list-saint-catherine-monastery-as-world-heritage-site-in-danger/ ↑
  34. World Heritage Watch Demands St Catherine Monastery Be Designated a UNESCO World Heritage Site in Danger, VEMA (July 9, 2025), https://vema.com.au/world-heritage-watch-demands-st-catherine-monastery-be-designated-a-unesco-world-heritage-site-in-danger/ ↑

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 Room 18 should be Empty: Is a permanent loan enough to resolve the Parthenon Marbles dispute?
Next Art Basel to launch in Qatar – the imminent rise of the art fair?

Related Art Law Articles

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!

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
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
  • 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