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

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
Maryan Kushnir Kyiv Jun 15 2026

Kyiv-Pechersk Lavra

World Heritage Site Attacked

Ukrainian museums and cultural centers, such as this 11th century UNESCO site are under attack. Learn about Cultural Heritage at Risk.

UNESCO Site
Center for Art Law

Follow us on Instagram for the latest in Art Law!

As AI enters all parts of the legal sector, it has As AI enters all parts of the legal sector, it has also been implemented in Alternative Dispute Resolution mechanisms. The American Arbitration Association and the International Centre for Dispute Resolution recently introduced the "AI arbitrator" in November 2025. 

The process is relatively simple, though it remains reserved for construction cases and subject to the review of a human arbitrator. The tool was created to offer more cost- and time-efficient options. The question remains, if current ADR AI tools can be envisioned in art law disputes, particularly given the individualistic features of art law claims and how they may, or may not, be addressed through the use of AI in ADR procedures

📚 Click the link in our bio to read the full article by Marina Rastorfer!

#centerforartlaw #artlaw #legal #artlawyer #legalreserach #ailaw #aiart #adr #alternativedisputeresolution
Don't miss our upcoming conversation with Dr. Rubi Don't miss our upcoming conversation with Dr. Rubina Raja, Professor of Classical Archaeology and Art at Aarhus University, as she presents contemporary, collaborative approaches to combating the illicit trade in antiquities, with a particular focus on Palmyra (Tadmor), Syria.

Drawing on the historical relationship between collecting and looting, the discussion will highlight the Palmyrene Portrait Project, a corpus of over 4,000 funerary portraits from Palmyra compiled by Dr. Raja and her team since 2012. The project serves as a critical record of material that, in many cases, remained in situ prior to the outbreak of the Syrian Civil War.

Before its inception, this body of material had not been treated as a unified corpus, nor systematically digitized. Today, the project stands as both the largest corpus of individual Roman period portraits from a single urban context and an essential scholarly and practical tool for identifying objects from Palmyra as they emerge on the art market.

Please note this event will not be recorded. 

🎟️ Get tickets now using the link in bio!

#centerforartlaw #arlaw #artlawyer #legalresearch #culturalheritage #artcrime #antiquities
Recently some artist estates have loosened fair us Recently some artist estates have loosened fair use policies for non-profits. The Robert Rauschenberg Foundation is one such example. In an effort to promote Rauschenberg's work over short-term revenue gain, it implemented one of the first fair use policies for certain museums before widening it to the public at large. 

Artist engagement levels did increase, but the policy brought up other issues, including distinguishing non-profit from for-profit uses. 

📚 Click the link in our bio to read more in our article by Josie Goettel!

#centerforartlaw #artlaw #artlawyer #legalresearch #art #artistissues #artistestates #museumissues #iplaw #copyright #ip
Meet our stellar line up of speakers! Thomas Stau Meet our stellar line up of speakers!

Thomas Stauffer | Partner, Gerber & Stauffer Fine Arts; President, Swiss Art Trading Association @thomstauffer 

Stefan Puttaert | CEO, Nicola Erni Collection @stefanputtaert @nicolaernicollection 

Alana Kushnir | Founder & Principal, Aurelian Lawyers & Advisers @aurelianlawyersandadvisers 

Will Korner | Head of Fairs, TEFAF @willkorner 

Pascal Robert | Founder, Pascal Robert Gallery @pascalrobertgallery 

Irina Tarsis | Founder, Center for Art Law, Moderator

▪️See you this Saturday, June 13 | 11:30–13:00
Auditorium Willy G.S. Hirzel, Landesmuseum Zurich
Free & open to the public

▪️Official part of @zurichartweekend programme
June! Roses are in bloom, summer interns have comp June! Roses are in bloom, summer interns have completed two weeks of orientation and research, and the world is heating up. As we wrap up after the Summer School, with much gratitude to our faculty and students, and digest the Copyright Law Conference takeaways, we cannot wait for our panel discussion Art Markets & the World in Transition (what is not?!) during the Zurich Art Weekend (in town on June 13th? Join us!), and look forward to sharing new research and articles with you posthaste. 

Make sure to subscribe to our newsletter to get all of these updates and more! 

📚 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 #artlawyer #lawyer #artissues #newsletter #june #legalresearch
In this episode of Art in Brief, Andrea and Paris In this episode of Art in Brief, Andrea and Paris speak with Will Korner, founder and director of the Cultural Heritage At Risk Database Foundation (CHARD). 

From conflict zones to disaster-stricken regions, Will discusses how documentation, collaboration, and technology can help safeguard the objects and stories that connect us to our shared past from illicit trade. He also explains how CHARD’s database can be used to cross-check whether stolen or missing cultural objects are appearing on the art market, including at auction, and what is at stake when these irreplaceable pieces of heritage are lost. 

🎙️ Check out the podcast anywhere you get your podcasts using the link in our bio! 

#centerforartlaw #artlaw #artlawyer #podcast #legal #research #legalresearch #newepisode #artmarket #culture #artcrime
Despite the passage of multiple anti-money launder Despite the passage of multiple anti-money laundering laws in the U.S. over the past two decades, the art market is still considered the "largest legal unregulated industry." Its perceived lax regulatory regime and various industry-specific factors, makes high-value art an attractive tool for laundering criminal proceeds. 

The rise in laundering through high-value art is mainly attributed to the high-dollar transactions values, the ease of transporting artwork across borders, the market's longstanding culture of privacy, and art's evolution as a financial asset. That said, the art market is not entirely unregulated. As this article shows, other mechanisms — including industry self-regulation, public pressure from high-profile litigation and settlements, and sanction laws — provide a certain regulatory structure.

📚 Click the link in our bio to read more!

#centerforartlaw #artlaw #legal #artlawyer #legalreserach #artmarket #AML #internationallaw #lawyer #artcrime #money
10 DAYS TO GO - MARK YOUR CALENDARS! Saturday, Ju 10 DAYS TO GO - MARK YOUR CALENDARS!

Saturday, June 13 | 11:30–13:00
Auditorium Willy G.S. Hirzel, Landesmuseum Zurich
Free & open to the public

With big gratitude to our sponsors, we look forward to welcoming you at the event!
📍June 13, 11:30 - 13:00 | Auditorium Willy G.S. Hi 📍June 13, 11:30 - 13:00 | Auditorium Willy G.S. Hirzel, Landesmuseum Zurich 

Free & open to the public

This June, as part of the official program of @zurichartweekend, we are bringing together some of the sharpest minds in the international art world for a candid conversation on what’s reshaping collecting today.

▪️Art Markets and the World in Transition: Frameworks Shaping Global Collecting

Geopolitics. Tariffs. AML regulation. Taxes. The rules of the art market are changing as fast as your news feed, and this panel is where experts unpack what that means for collectors, gallerists, and art lovers.

Speakers: 

Will Korner (TEFAF) · Alana Kushnir (Aurelian Lawyers & Advisers) · Pascal Robert (Pascal Robert Gallery) · Stefan Puttaert (Nicola Erni Collection) · Thomas Stauffer (SATA) ·  Irina Tarsis, Esq. (Center for Art Law, moderator)

The event sponsors to be announced soon! 

Link in bio to save your spot 🔗

#ZurichArtWeekend #ArtLaw #ArtMarket #Collecting #ZAW2026 LandesmuseumZürich CenterForArtLaw ArtAndLaw CrossBorderCollecting
Join the Center for Art Law for a conversation wit Join the Center for Art Law for a conversation with Dr. Rubina Raja, Professor of Classical Archaeology and Art at Aarhus University, as she presents contemporary, collaborative approaches to combating the illicit trade in antiquities, with a particular focus on Palmyra (Tadmor), Syria.

Drawing on the historical relationship between collecting and looting, the discussion will highlight the Palmyrene Portrait Project, a corpus of over 4,000 funerary portraits from Palmyra compiled by Dr. Raja and her team since 2012. The project serves as a critical record of material that, in many cases, remained in situ prior to the outbreak of the Syrian Civil War. 

Before its inception, this body of material had not been treated as a unified corpus, nor systematically digitized. Today, the project stands as both the largest corpus of individual Roman period portraits from a single urban context and an essential scholarly and practical tool for identifying objects from Palmyra as they emerge on the art market. 

🎟️ Get tickets now using the link in bio!

#centerforartlaw #arlaw #artlawyer #legalresearch #culturalheritage #artcrime #antiquities
On October 6, 2025, the Flemish Government announc On October 6, 2025, the Flemish Government announced plans to transform the Museum of Contemporary Art Antwerp (M HKA) into an art center — a change that would make the institution lose its legal museum status and transfer its collection to the Stedelijk Museum voor Actuele Kunst in Ghent. Losing this status will have huge legal, financial, and cultural repercussions for the M HKA. 

This decision raised strong reactions from the art world, denouncing the false administrative logic behind this reorganization, which, according to the Flemish Minister of Culture, aims to strengthen collaboration and coherence within the cultural landscape. How does this transfer truly impact the Belgian artistic landscape — and does it really contribute to any coherence, or does it instead destroy the long-term curation and expertise that the institution has built in Antwerp?

📚 Click the link in our bio to read the full article by Alexandra Kharchenko. 

https://itsartlaw.org/art-law/flemish-governments-plan-to-dismantle-m-hkas-collection-in-the-name-of-centralization-of-art/ 

#centerforartlaw #artlaw #legal #artlawyer #legalresearch #artcuration #MHKA #artcuration
Thank you to all of our sponsors for all of their Thank you to all of our sponsors for all of their help in executing our 2026 Art Law Conference!!

#centerforartlaw #artlaw #legalresearch #2026annualconference #2026 #auction #nonprofit
  • 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