• 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 Case Review image/svg+xml 2021 Timothée Giet Case Review: Barnet et al v. Ministry of Culture and Sports of the Hellenic Republic (2020)
Back

Case Review: Barnet et al v. Ministry of Culture and Sports of the Hellenic Republic (2020)

August 3, 2020

The 5 ½ inch Bronze Greek Horse in the Geometric Style. Screenshots from Sotheby’s auction catalogue for the May 2018 sale “The Shape of Beauty: Sculpture from the Collection of Howard and Saretta Barnet.” The page has since been removed from the site.

By Lucy Siegel.

In 2018, the trustees of the 2012 Saretta Barnet Revocable Trust, in conjunction with Sotheby’s auction house, filed a complaint in the United States District Court for the Southern District of New York against the Ministry of Culture and Sports of the Hellenic Republic, an agency of Greece. The suit was in response to a last minute letter sent by Greece urging Sotheby’s to pull an ancient Greek figurine from auction.

Screenshot: Sotheby’s auction catalogue for the May 2018 sale “The Shape of Beauty: Sculpture from the Collection of Howard and Saretta Barnet.” The page has since been removed from the site.

Figurines and Friday Night Emails

The eighth-century B.C.E. bronze statue of a Greek Geometric period horse was part of Howard and Saretta Barnet’s collection until 2017, when the trustees of the Saretta Barnet Revocable Trust consigned the piece to Sotheby’s to be sold at auction in May 2018. The auction, “The Shape of Beauty: Sculpture from the Collection of Howard and Saretta Barnet,” was advertised and promoted for months leading up the day of the auction, although an online catalog of objects accessible to Greece only became available in April. Thus, on the Friday night before the Monday auction, Dr. Elena Korka, head of the General Directorate of Antiquities and Cultural Heritage of the Hellenic Republic Ministry of Culture and Sports, sent an email to the auction house questioning the ownership of the figurine. Korka explained the issues with the public sale of the figurine, citing Greek patrimony laws and the UNESCO Convention on Cultural Property. In response, Sotheby’s decided to pull the figurine from the sale, potentially reducing revenue from the auction by an estimated $250,000, based on the bronze horse’s original auction estimate.[1]

Sotheby’s and the Barnet Family filed their complaint against Greece in an attempt to reestablish the credibility and legitimacy of their ownership of the figurine. In a 2018 article, the Center for Art Law addressed the original complaint in greater detail, noting that this suit marked the first time an auction house had sued a government. The original complaint based the suit on interference without lawful justification and sought declaratory relief to determine the rightful owner of the figurine. This article will examine the decisions issued by both the district and Second Circuit court, and provide analysis relating to the future of the figurine and implications of this case.

Round One: United States District Court for the Southern District of New York

Since Sotheby’s and the Barnet family were exclusively seeking declaratory relief in the district court, they were not seeking compensation for the financial loss from not selling the figurine.[2] Rather, the auction house and Barnet family (“the Plaintiffs”), represented by Gary Stein of Schulte Roth & Zabel LLP, asked the district court to declare that they were the rightful owners of the figurine, not the nation of Greece. In turn, the Hellenic Republic (“the Defendant”), represented by Leila Alexandra Amineddoleh of Amineddoleh and Associates LLC, moved to dismiss the suit on the basis of lack of subject-matter jurisdiction, meaning the court does not have the power to hear the case or make any decision.

Amineddoleh claimed that Greece, as a foregin sovereign nation, should be granted sovereign immunity based on the Foreign Sovereign Immunities Act (FSIA).[3] The FSIA applies to all litigation in US courts against foreign states and governments, including state actors, and determines the basis for granting immunity. Sovereign states are presumed immune from litigation in U.S. courts, but the FSIA deprives sovereigns from immunity when one of the Act’s enumerated exceptions applies. Generally speaking, immunity is respected when sovereigns commit public acts, or acts typically performed by governments, thus resulting in US courts lacking subject-matter jurisdiction over cases concerning immune parties.[4] Yet, foregin states do not receive immunity for acts determined to be of private nature. The FSIA includes more specific exceptions that strip foreign powers of their immunity, such as the “commercial-activity exception,” which allows a plaintiff to haul a foreign sovereign into court when the alleged act is commercial “in nature.”[5] The exception requires that the commercial act have a “direct effect” in the U.S. This is also known as the direct-effect clause.[6]

The Plaintiffs argued that Greece’s act of sending the urgent email satisfied the conditions of the commercial-activity exception. They also claimed the act of sending the letter was a private, and therefore inherently commerical, act because private entities have the ability to send letters claiming ownership of property. The district court agreed with the Plaintiffs, deciding the court had jurisdiction to hear the case because Greece did not have immunity based on the direct-effect clause of the commercial-activity exception in the FSIA.[7]

The state of Greece continued to argue they should be protected from suit under the FSIA by filing an interlocutory appeal regarding the denied motion to dismiss based on lack of subject-matter jurisdiction. As a result, no merits of the case would be discussed until a higher court ruled on the jurisdictional question.

Round Two: The United States Court of Appeals for the Second Circuit

The question of jurisdiction passed to the higher federal court, the United States Court of Appeals for the Second Circuit. As stipulated by the interlocutory appeal, the Defendant was exclusively appealing the motion to dismiss based on lack of jurisdiction. Attorneys for Greece took specific issues with the wording of the direct-effect clause of the FSIA.

  • First, to prove direct-effect, the Plaintiffs must identify Greece’s predicate act which serves as the basis for the Plaintiff’s claims. The predicate act is the action taken by Greece outside the United States, and is the element of the claim that, if proven, entitles Sotheby’s and the Barnet Family to relief under their theory of the case. The predicate act, also known as the core action, serves as a basis for and validates the direct-effect claim.[8]
  • Second, the Plaintiffs need to establish that the predicate act was taken “in connection with a commercial activity” by Greece outside of the United States.[9] The district court concluded the act of Greece sending the letter was both the predicate act and related commercial activity.

The Defendant noted that the only act in question is Greece’s act of sending the letter to the auction house. Furthermore, the Defendant argued the direct-effect clause only applies when “a suit seeks relief for an ‘act’ that a foregin state undertakes ‘in connection with a commercial activity.”[10] The act of sending the letter is both the predicate act and the connection with commercial activity, and therefore does not satisfy the direct-effect clause of the commercial activity exemption. The Second Circuit confirmed that the isolated letter cannot serve as both the predicate act and the connection with commercial activity, thus rendering the Plaintiffs’ reasoning for not granting Greece immunity invalid and rejecting the district court’s conclusion that it had subject-matter jurisdiction.[11]

In addition, Greece claims the act of sending the letter was a uniquely sovereign act. As explained in the letter, the urgent message was an attempt to impose its national patrimony laws. Throughout the letter, Greece refers to national laws and policies and their specific applications to the figurine. The letter cites a 1932 Greek law known as “Greek National Law 5351/1932 on Antiquities,” which nationalized all Greek antiquities as property of the Greek government. The letter also references a more recent 2002 law, “Greek National Law 3028/2002 on the Protection of Antiquities and Cultural Heritage in General,” which states “all movable ancient monuments belong to the State in terms of ownership and possession, are imprescriptible and extra commercium,” meaning that the property was not eligible for private ownership. This law also declares the “Greek State shall care for the protection of cultural objects originating from Greek territory whenever they may have been removed from it and wherever they are located.” Greece noted in its letter that these laws regulate the export of artifacts and determine criminal liability depending on the circumstances.[12]

In addition, the letter mentions Greek criminal law concerning the illegal possession of nationalized antiquities, specifically “Greek Criminal Law (Act 3028/2002, article 55),” which claims “the illegal acquisition and trading of cultural property of great value . . . constitutes a serious criminal offence, irrespective of where it takes place.” Thus, the Plaintiffs are committing a crime in the eyes of Greek law by maintaining ownership of the figurine.

In June 2020, the court held that the activity of sending such a letter was not commercial, reasoning that Greece’s enforcement of and citation to its patrimony laws in the letter, specifically relating to nationalized property was not enough to constitute “commercial activity” and that enforcement of a patrimony law was archetypical “sovereign activity.”[13] The nationalization of property is an explicitly sovereign act, and therefore Greece was acting as a sovereign power instead of a commercial power. Thus, the court held that Greece is immune from suit in the United States pursuant to the FSIA and no U.S. court has jurisdiction to hear the case as a result of the lack of subject-matter jurisdiction. The Second Circuit reversed and remanded Barnet et al v. Ministry of Culture and Sports of the Hellenic Republic back to the lower court, with instructions to dismiss.[14]

Ramifications and Responses

After the litigation concerning jurisdictional matters, the ownership and possession of the horse figurine are still not resolved. The figurine has not been returned to Greece yet, but the Greek Culture Ministry stated it would now seek repatriation of the figurine.[15] In a public statement, a Sotheby’s spokesperson claimed to be disappointed with the decision and affirmed their belief that the Barnets can legally sell the figurine. The spokesperson stated, “we, together with our client, are reviewing next steps.”[16] Thus, it remains unclear who actually owns the figurine, be it Greece or the Barnet estate.

While ownership issues have not be resolved, the precedent established by the Second Circuit’s decision cannot be understated. Now, a sovereign nation attempting to protect their cultural heritage, while exercising their police power through patrimony and nationalization laws, can legitimately red flag sales of affected antiquities without fear of litigation. As Greece attempts to recollect its history from around the world, it may only be a matter of time before other nations follow suit.

Yet, Sotheby’s and the Barnet Family’s original complaint did encourage other auction houses and galleries to retaliate against sovereign nations who interfered with sales. In fact, Leila Amineddoleh, the attorney who represented Greece, tells the Center for Art Law, “after the Plaintiffs in Barnet won in district court, Safani Art Gallery in NY sued the Republic of Italy for contacting the Manhattan DA about a problematic antiquity.” According to the complaint filed in 2019, the gallery is suing not only for declaratory relief, but is demanding the immediate return of the artifact, known as the “Head of Alexander,” to the Safani Gallery.[17] Amineddoleh notes that “the Second Circuit’s decision came out after Safani was filed so it will be interesting to see how the case against Italy proceeds in light of the Second Circuit reversal,” since Safani also involves exceptions to the FSIA. Regardless, the precedent set throughout Barnet et al v. Ministry of Culture and Sports of the Hellenic Republic reveals the evolving complexity of the art world and art law field, and it will be exciting to see what moves both the Plaintiffs and Defendant make next to ensure ownership of the figurine.


Endnotes:

  1. Jennie Nadel, Case Review: Sotheby’s v. Greece, Ctr. for Art L. (Sep. 24, 2018), https://itsartlaw.org/2018/09/24/case-review-sothebys-v-greece/. ↑
  2. Complaint, Barnet et al v. Ministry of Culture and Sports of the Hellenic Republic, No. 1:18-cv-04963 (S.D.N.Y. June 5, 2018). ↑
  3. 28 U.S.C. §§ 1602-1611 (2012). ↑
  4. David P. Stewart, The Foreign Sovereign Immunities Act: A Guide for Judges, Federal Judicial Center (2013), available at https://www.fjc.gov/sites/default/files/2014/FSIAGuide2013.pdf. ↑
  5. 28 U.S.C. § 1605(a)(2) (2012). ↑
  6. 28 U.S.C. §§ 1604-1611 (1976). ↑
  7. Barnet et al v. Ministry of Culture and Sports of the Hellenic Republic, 391 F. Supp. 3d 291 (S.D.N.Y. June 5, 2018). ↑
  8. Barnet et al v. Ministry of Culture and Sports of the Hellenic Republic, 961 F.3d 193, 12 (2d Cir. July 9, 2020). ↑
  9. 28 U.S.C. § 1605(a)(2) (2012). ↑
  10. 28 U.S.C. § 1605(a)(2) (2012). ↑
  11. Barnet et al v. Ministry of Culture and Sports of the Hellenic Republic, 961 F.3d 193, 18 (2d Cir. July 9, 2020). ↑
  12. Barnet et al v. Ministry of Culture and Sports of the Hellenic Republic, 961 F.3d 193 (2d Cir. July 9, 2020). ↑
  13. Barnet et al v. Ministry of Culture and Sports of the Hellenic Republic, 961 F.3d 193, 17 (2d Cir. July 9, 2020). ↑
  14. Amineddoleh & Associates Secures Second Circuit Win for the Greek Ministry of Culture in a Landmark Cultural Heritage Case, Amineddoleh & Associates LLC (Jun. 9. 2020), https://www.artandiplawfirm.com/litigation-update-amineddoleh-associates-secures-second-circuit-win-for-the-greek-ministry-of-culture-in-a-landmark-cultural-heritage-case/. ↑
  15. Tasos Kokkinidis, Greece Wins Case in Dispute With Sotheby’s Over Ancient Artifact, Greek USA Reporter (Jun. 10, 2020), https://usa.greekreporter.com/2020/06/10/greece-wins-case-in-dispute-with-sothebys-over-ancient-artifact/. ↑
  16. Kate Brown, Sotheby’s Just Lost Its Lawsuit Against Greece Over an 8th-Century BC Horse Statue—and the Decision May Have Lasting Implications for the Trade, ArtNet News (Jun. 10, 2020), https://news.artnet.com/art-world/barnet-case-sothebys-1883349. ↑
  17. Complaint, Safani Gallery, Inc. v. The Italian Republic, No. 1:19-cv-10507 (S.D.N.Y. November 11, 2019). ↑

About the Author: Lucy Siegel is a Summer 2020 Intern at the Center for Art Law and a rising junior at Bowdoin College in Brunswick, Maine. She is studying art history and government with a concentration in international relations. Lucy can be reached at lsiegel@bowdoin.edu.

Acknowledgments: The Author thanks Leila Amineddoleh of Amineddoleh and Associates LLC, the attorney who represented the Ministry of Culture and Sports of the Hellenic Republic, for speaking with the Center for Art Law about the implications of this case.

Disclaimer: This article is intended for general information 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. Opinions expressed are those of the author.

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 Remembering Modigliani: Italy’s Ongoing Battle against Forgery
Next Case Review: Meaders v. Helwaser (2020)

Related Art Law Articles

Screen shot from Google scholar of different Warhol cases
Art lawCase ReviewArt Law

Degrees of Transformation: Andy Warhol’s 102 minutes of fame before the Supreme Court

November 17, 2022
Art lawArt Law

“Outsider Artists” and Inheritance Law: What Happens to an Artist’s Work When They Die Without a Will?

November 11, 2022
Art lawCase ReviewArt LawCase Review

Case Review: US v. Philbrick (2022)

November 7, 2022
Center for Art Law
ART x LAW SCHOOL instagram

Summer School in Zurich?

Join us

This five-day intensive program combines classroom and lecture format.

Learn MORE
Center for Art Law

Follow us on Instagram for the latest in Art Law!

July 2026, another month of, well, fill in the bla July 2026, another month of, well, fill in the blank.

Summer is for cherries, weddings, garden parties, catching up on reading and catching up with friends. And yet the worst of humanity keeps getting in the way of enjoying what the season brings. The heat so many of us feel right now, in the air, in the headlines, is at times unbearable and frankly unnecessary. Some of it comes from nature; too much of it is man-made.

It is so much harder to build, protect or preserve than to destroy. This month, we invite you to read the latest articles from the Center, including stories inspired by the 250th anniversary of the United States of America, meet our Summer Team, and stay tuned for upcoming events, including a colloquium with Konstantin Akinsha on Ukrainian art and cultural heritage under assault. Thank you, as always, for caring for and protecting art and cultural heritage. 

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 #july #legalresearch
What happens when the world's most famous anonymou What happens when the world's most famous anonymous artist is no longer anonymous?

One of our latest articles examines the legal and cultural implications of Banksy's unmasking, exploring how anonymity shaped the reception of his work and what this revelation may mean for the future of his career. More broadly, this piece explores how Banksy’s anonymity functioned within a culture increasingly defined by visibility and personal branding.

📚 Click the link in our bio to read the complete article by Afroditi Karatagli

#centerforartlaw #banksy #artlaw #streetart #copyrightlaw #freedomofexpression #contemporaryart #artmarket #legalresearch
Grüezi mitenand 👋 Center for Art Law Switzerland i Grüezi mitenand 👋 Center for Art Law Switzerland is introducing ART x LAW INTENSIVE!

Globalization is reshaping the art world, and with it comes a growing need for legal literacy across the market’s key players. Join us in the heart of Europe for a five-day deep dive into the legal frameworks shaping today’s art world.

Location: Zurich 
Hosting Partners: museums, law firms, galleries, universities, and artist studios
Dates: September 1–5, 2026

🎓 Taught by leading art law practitioners: transactional and litigation attorneys, art dealers, law professors and provenance researchers

Ideal for law and pre-law students, young attorneys, and art world professionals ready to build both knowledge and network.

Applications open between July 7 - 31, decisions on selected participants announced by August 10.

Language: English | Cost: CHF 2,500

Link in bio to apply, or reach us at zurich@itsartlaw.org

#ArtLaw #ArtLawSchool #Zurich #ArtMarket #Provenance Restitution Copyright ArtAndTech SummerSchool CenterForArtLaw
On the United States 250th Anniversary make sure t On the United States 250th Anniversary make sure to check out our article by @hannahegadway: "Art Law at America 250: Gilbert Stuart’s Art Battles and National Imagination"

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

#centerforartlaw #artlaw #artlawyer #250 #unitedstates #4thofjuly #newarticle
Learn about art and cultural heritage destroyed or Learn about art and cultural heritage destroyed or damaged by the ongoing war.

Since Russia's full-scale invasion of Ukraine began in February 2022, hundreds of museums, churches, archaeological sites, libraries, monuments, and historic buildings have been damaged or destroyed. As of July 1 2026, UNESCO had verified damage to more than 540 cultural sites across Ukraine, underscoring the unprecedented threat facing the country's cultural heritage. 

🎟️ Grab tickets using the link in our bio! 

#centerforartlaw #artlaw #artlawyer #internationallaw #artcrime #culturalheritage
Recently one of our summer interns Cara Ianuale vi Recently one of our summer interns Cara Ianuale visited  the MET. Below is her thoughts on one item she saw within the Costume Art exhibition.👗💭⚖️

This fibrous dress in the MET’s Costume Art exhibition rests at the heart of an attribution dispute between artist Anouska Samms and designer Yoav Hadari. In May, Samms alleged that the MET did not rightfully credit her for Corpus Nervina 0.0, which bears significant resemblance to a work, Hair Dress, that she and Hadari created using her proprietary human hair-based textile she developed in 2019. The MET had expressed interest in acquiring Hair Dress in 2025, but plans fell through—according to Samms’ lawyer Jon Sharples, Hadari decided to withdraw Hair Dress and submit two other independently-designed garments instead.

Solely crediting Hadari, the label states that Corpus Nervina 0.0 is made of synthetic fibers, their scattered arrangement and wispy clusters meant to evoke the fragility of the human nervous system. Hadari claims that, while the garment was inspired by Hair Dress, its design, concept, and construction are entirely his own. The museum has declined involvement, indicating that the parties must first try to work it out on their own. For now, the label remains unchanged… 

📚 Check out more information on this topic using the link in our bio!
Learn about the Center's specialized resources ava Learn about the Center's specialized resources available on immigration and visas for artists!

Join the Center for Art Law at our Immigration Showcase, a free 30-minute webinar introducing the Center’s resources designed to support international visual artists navigating the U.S. immigration process.

Rakhel Milstein, Board Member at the Center and Founder of Milstein Law Group, will share brief remarks on recent immigration developments affecting artists, important policy considerations to keep in mind, and key issues for artists and creative professionals to watch. Atreya Mathur, Director of Legal Research at the Center, will introduce the Center’s upcoming Immigration Guide for Artists, available in July 2026. This comprehensive resource provides artists with an accessible overview of U.S. immigration pathways, including O-1 visas and other relevant options. The guide is designed to help artists better understand the immigration process, identify potential pathways, prepare more effectively, and recognize the importance of planning ahead when pursuing opportunities in the United States. Kameé Payton, the Center’s 2025-2026 Judith Bresler Fellow, will also share information about the Center’s Immigration Clinic, which provides artists with individualized support through one-on-one consultations to help them better understand their immigration options and access guidance tailored to their needs.

Join us to explore our resources and connect with the tools available to support artists navigating the U.S. immigration landscape. 

🎟️ Get tickets today using the link in our bio!!
Over 100 Benin bronzes housed at Cambridge Univers Over 100 Benin bronzes housed at Cambridge University have officially been returned to Nigeria. As university museums move forward with repatriation initiatives, larger, national institutions are left behind the curve due to statutory restrictions. From domestic legal roadblocks to internal ownership disputes, the road to restitution is rarely straightforward. 

📚 Head to the link in our bio to read The Observer's full breakdown of how Cambridge’s move puts pressure on the rest of the UK cultural sector.

📸: Adam Eastland / Alamy, University of Cambridge
Join us for an informative short lecture and pro b Join us for an informative short lecture and pro bono consultations to understand contracts with galleries and art dealers.

The Artist-Dealer Relationships Clinic helps artists and gallerists negotiate effective and mutually-beneficial contracts. By connecting artists and dealers to attorneys, this Clinic looks to forge meaningful relations and to provide a platform for artists and dealers to learn about the laws that govern their relationship, as well as have their questions addressed by experts in the field.

After a short lecture on an artist-dealer relationships topic, attendees with consultation tickets will be paired with one of the Center's volunteer attorneys for a confidential 20-minute consultation. Limited slots are available for the consultation sessions. 

🎟️ Grab tickets using the link in our bio!!
And finally...here's to our Undergrad Summer 2026 And finally...here's to our Undergrad Summer 2026 interns! 

Dylan Cosgrove is a rising undergraduate senior at the American University of Paris, pursuing a B.A. in Finance with minors in Art History and Economics. Drawing on experiences across fashion, law, and finance - alongside coursework at Sotheby's - her interests sit at the intersection of capital markets, legal frameworks, and cultural value. She has developed a particular interest in art finance and the mechanisms through which law shapes the movement and monetization of art, and looks forward to exploring these themes further as she advances her academic and professional career.

Natasha is an undergraduate student pursuing a BA in History of Art at The Courtauld Institute of Art, with a particular interest in Modern and Contemporary British art. She currently serves as Events Coordinator for The Courtauld’s Art Law Society. Her academic interests include intellectual property and copyright law, restitution, and the protection of architectural heritage. Since November 2025, she has also volunteered with the Centre’s Nazi-Looted Art Restitution Project, and looks forward to continuing her contribution to the project while also working across other areas of the center over the summer. 

Swipe through to learn more about this year's cohort and join us in welcoming them to the Center for Art Law! 👏
Say hello to the Center for Art Law's Summer 2026 Say hello to the Center for Art Law's Summer 2026 interns🗽

Victoria Cook is a second-year law student at Queen's University and a Philosophy graduate from St. Francis Xavier University whose background includes artist advocacy and arts administration. Her interests focus on cultural heritage and restitution, authentication, and copyright. 

@hannahegadway is a rising 2L at Harvard Law School and a Summer 2026 legal intern with the Center for Art Law. She graduated from Harvard College in 2025, where she majored in History & Literature. Hannah is interested in art law-related questions concerning museum provenance and the Internet. 

Ian Silverstein is a dual-degree candidate at Rutgers University, pursuing a J.D. at Rutgers Law School alongside a graduate degree in Cultural Heritage and Preservation Studies, with a certificate in Intellectual Property Law. He is a painter and visual artist and has conducted separate research on emotional and aesthetic responses to art. His museum research has been supported by the NEA, and he holds a certificate in Art as a Global Business from Sotheby's Institute of Art. Ian’s illustrations can be seen in the NYTimes shortlisted book by Andrew Shtulman, titled ‘Scienceblind: Why Our Intuitive Theories about the World Are So Often Wrong’. 

Eleanna Antonatou is an LLM candidate in Art, Business and Law at Queen Mary University of London and a Law LLB graduate from the University of Nottingham. Her experience spans vacation schemes at international law firms across London, Athens, and Geneva. Her interests centre on intellectual property, dispute resolution, and the regulation of cross-border art transactions. 

@rebecca.caitlin is a rising 2L J.D. candidate at New York University School of Law. She completed her undergraduate degree at Middlebury College, where she studied philosophy, English, & American literatures, writing a thesis on contemporary feminist poetry’s power to cultivate moral behaviors in readers. Rebecca is interested in the overlap of human rights and art law, and particularly in cultural heritage/cultural property law, repatriation and restitution of stolen or looted cultural objects, & museum law.
Say hello to the Center for Art Law's Summer 2026 Say hello to the Center for Art Law's Summer 2026 Graduate Interns🎓

Sam Brady-Myerov is a rising second-year master’s student in the History, Theory, and Criticism of Architecture and Art program at MIT. She earned her BA in Art History and Political Science from Washington University in St. Louis in 2025 and was awarded a Fulbright Research/Open Study Award to Brazil. Her work focuses on urban decoration and the negotiations through which artists, architects, institutions, and public and private actors shape shared visual space.

Sophia Molina is a recent graduate of Wesleyan University, where she studied History and Fine Art. Her academic and professional work focuses on the intersections of art and politics, with particular interests in museum provenance, cultural heritage preservation, and cultural diplomacy. She has conducted research and worked in communications roles at institutions including the National Museum of Women in the Arts and the National Trust for Historic Preservation.

Kira Hernandez is a recent graduate of Williams College, where she received her B.A. in Art History and Justice & Law Studies. Currently, Kira is pursuing a M.S. in Informatics at San Jose State University, where her research focuses primarily on museum informatics, collections management systems, and improving the integration of provenance research into public-facing databases.

Cara Ianuale is a recent graduate of Brown University, where she earned degrees in the History of Art & Architecture and English. Her senior thesis in art history explores how artist Sherrie Levine’s solo exhibition of rephotographed images challenges the foundations of copyright. She is broadly interested in the intersection of art and intellectual property, and intends to study law in New York. 

Lena Rohde is a recent graduate of NYU's Institute of Fine Arts, having just obtained her M.A. in the History of Art and Archaeology. She completed her undergraduate studies in 2024 with an Honours Art History and French degree from the University of St. Andrews. Her primary interests include cultural heritage protection, provenance and restitution, and intellectual property.
  • 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

Become a Member

Since 2009, the Center for Art Law has organized hundreds of events and published over 1,200 relevant, accessible, and editorially independent articles. As a nonprofit working with artists and students, the Center for Art Law relies on your support to fund our work. Become a premium subscriber and gain access to discounts on events and archives of articles and/or hundreds of case summaries, intended for a worldwide audience of legal professionals, artists, researchers, and students.

Camille Pissarro, Rue St Honoré, apres midi, effet de pluie, 1897

Camille Pissarro, Rue St Honoré, apres midi, effet de pluie, 1897

$70 /per year

Case Law Corner

See All Benefits

Read case law summaries and enjoy unlimited access to our legendary Case Law Corner, now in a new and improved Database with over 700 entries.

Get this subscription
$75 /per year

Artist & Student Membership

See All Benefits
  • Access to all articles and past-event recordings
  • Access to our Case Law Database
  • Free and discounted access to events
Get this subscription
$150 /per year

Annual Subscription

See All Benefits
  • Access to all articles and past-event recordings
  • Access to Case Law Database
  • Free and discounted access to events
  • Discounts to third-party events
Get this subscription

Loading Comments...

You must be logged in to post a comment.