• 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 Book Review image/svg+xml 2021 Timothée Giet Book Review: “Fair and just solutions?” (2015)
Back

Book Review: “Fair and just solutions?” (2015)

November 11, 2015

By Adir Paner

Seventy years since the end of World War II, earnest efforts to restitute property, cultural and otherwise seem to be on the rise. In addition to the millions of lives lost, displaced, peoples cobbling to make a living in new homes and new lands, many millions of pieces of property remain lost and out of the reach of their rightful private and public owners. Despite the best efforts of the allied forces when finding and administering collecting points, countless pre-war art owners, such as museums, and private families (Jewish and gentile) had property confiscated by the Nazis which was not subsequently restituted.

As objects resurface and as heirs discover their legacy, steps should be taken to expeditiously achieve an equitable solution, notwithstanding the time that lapsed. Recognizing this principle, in 1998, the U.S. Department of State and the U.S. Holocaust Memorial Museum co-hosted the Washington Conference on Holocaust-Era Assets. Delegations from forty-four nations and thirteen non-governmental organizations participated. The 1998 conference addressed various issues related to the confiscation of assets by the Nazis and others during the Holocaust, and was responsible for coining the the term “fair and just solutions,” which refers to the norm for the assessment of ownership claims to Nazi-looted art, as codified in the Washington Principles in 1998. While more than 40 nations became signatories to the Washington Principles, five nations (Austria, Germany, France, the Netherlands and the United Kingdom) went so far as to organize committees to review claims brought by claimants seeking recovery of cultural property, lost as a result of widespread and large-scale crimes committed by the Nazi regime.

Published in 2015, Fair and just solutions? is a compilation of essays presented during an eponymous international symposium at the Peace Palace in The Hague that took place in November 2012. The question mark in the title alludes to the lack of clarity surrounding this norm. What is ‘fair and just’? Many millions of people paid the ultimate sacrifice, losing more than just their valuables in the last century. Is it possible to find a fair and just solution to a problem that is much more expansive than mere loss of property? Additionally, how do we resolve competing interests of merit between victims of Nazi oppression, and the blameless institutions which acquired and cared for the art through no fault of their own?

The 2015 volume edited by Campfens, contains expert opinions aimed at evaluating the status quo in the field of non-governmental restitution claims to Nazi-looted art and at discussing the legal framework for ownership claims by heirs or dispossessed owners.

Fair and just solutions? delivers a detailed account and perspective on international claims for looted property. The editor responsible for organizing the 2012 conference in the Hague, Evelien Campfens, is a renowned attorney and historian as well as the Inaugural Director of the Dutch Restitutions Committee. For thirteen years, Campfens lead the research team and oversaw the coordination of cases and preparation of advisory opinions. Campfens’ extensive background put her in a strategic position to gather and assemble key pieces of restitution history and to offer her critique on them. 

Fair and just solutions? documents the information discussed in the conference, providing guidance for those who were unable to attend in 2012, as well as for newcomers to the field. Through the valuable contributions by attorneys and historians practicing in the U.K. and Continental Europe, a compilation of opinions by leading experts, and a discussion amongst stakeholders, Fair and just solutions? explores a way to move forward toward ultimate resolution of the Nazi-era art claims. As a result, it serves as an excellent resource for all those interested in the subject matter, including law students, educators, potential claimants, and attorneys involved in the restitution of art.

The books recurrent themes include: (1) the status quo with regard to the ‘fair and just solutions’ norm that was introduced in the 1998 Washington Principles, presented at the Washington Conference on Holocaust Era Assets; (2) the procedures available to claimants; and (3) how things stand in terms of international cooperation in expeditiously achieving a fair and just solution.

The book is divided into eleven chapters, each contributed by a different author, including inter alia the former U.S. Special Envoy for Holocaust Issues, Douglas Davidson, expert advisor to the U.K. Spoliation Advisory Panel Professor Norman Palmer, and former counsel to the Dutch Parliament Rob Polak. Opening with Campfens’ account of the “Old and New Rules for Looted Art” which analyzes instruments of soft and hard international law, the book progresses through important concepts highlighted by other experts.

The book also contains intriguing interviews with claimants. One such contribution entitled “Ultimately the Applicant Needs to Feel that Justice has Been Done,” recapitulates an interview with two great-grandchildren of Samuel van den Bergh, who describe their claims for a Persian medallion carpet in the Netherlands. It is a rare opportunity for restitution historians and pupils to learn of first hand experiences in the restitution process.  

In the introduction, Campfens points out that it is impossible to thoroughly explore all topics related to Holocaust restitution, such as the differences between the approach of different nations to restitution claims. Notwithstanding Campfens disclaimer and the relatively brief nature of the volume, the detailed appendices provide valuable sources for obtaining more information. Featured are several declarations, resolutions, and governmental acts pertinent to the restitution of confiscated property (e.g., Washington Principles on Nazi-confiscated Art, UNESCO Declaration of Principles Relating to Cultural Objects Displaced in Connection with the Second World War etc.) The general layout of the book spotlights the key documents in the development of international restitution law.

The lists of hard law (binding legal obligations in the international arena), procedure and legal instruments that appear within the chapters as well as in the addendum to the volume may be dull at times, but it is necessary to analyze the statutory impediments and distinguish legal procedures amongst other things for this book to accomplish its informative purpose. The issue is mostly alleviated by the book’s structure; Campfens is careful to include only material that she found essential to the understanding the restitution process.

Owing to the fact that Fair and just solutions? is a compilation of articles by multiple authors, the chapters may be pertinent to a diverse readership. Additionally, editors organized the book in short paragraphs with headers, making it simple for the reader to follow. Each chapter is supplemented with a brief conclusion, either commentary by the editor or key points summarized by the contributing authors, which makes for a useful dénouement—summarizing key points. Overall, Fair and just solutions? serves as a readable and informative reference on the evolution of the law on restitution, an analysis of international practice, and suggestions for future approaches to Holocaust-related claims.

*  *  *

From the Editors: On December 2, 2015, Evelien Campfens discussed the book and the recent cases involving restitution efforts at the first international Art Law Mixer in London. The event was held at Stephen Ongpin Fine Art Gallery. For additional details please visit our calendar of events or contact Center for Art Law.

A copy of this book may be purchased HERE.

*  *  *

*About the Author: Adir Paner is a Center for Art Law Legal Intern (Fall 2015) as a part of the Benjamin N. Cardozo School of Law Holocaust Restitution Claims Practicum.

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 Book Review: “Possession: The Curious History of Private Collectors from Antiquity to the Present” (2016)
Next Book Review: “Visual Arts and the Law: A Handbook for Professionals” (2013)

Related Art Law Articles

Lust on trial Book Review Center for Art Law
Book Review

Book Review: “Lust on Trial: Censorship and the Rise of American Obscenity in the Age of Anthony Comstock” (2018)

December 8, 2025
center for art law all that glitters book review
Art HistoryArt lawBook ReviewBiography

Book Review: “All That Glitters: A Story of Friendship, Fraud and Fine Art” (2024)

November 13, 2025
photo of the book cover by Perenyi
Book Review

Book Review: Caveat Emptor: The Secret Life of an American Art Forger (2012) by Ken Perenyi

August 29, 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