• 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: U.S. v. Righter (FL/CA, 2020)
Back

Case Review: U.S. v. Righter (FL/CA, 2020)

November 9, 2020

By Olivia Baker.

Forgeries have undeniable adverse effects on the art world. Some forgers have avoided being discovered and others have luckily been caught, Phillip Righter being a recent one. Righter was recently convicted in two criminal cases involving a series of art forgeries, the first one filed on June 20, 2019 in the United States District Court Southern District of Florida and the second filed on March 23, 2020 in the United States Central District of California.[1] Righter began selling fakes of Jean-Michel Basquiat, Keith Haring, and other well-known artists’ works sometime before 2016. He forged certificates of authenticity for artworks by artists whose estates stopped authenticating artworks in an attempt to make his fakes appear to be authentic. The Los Angeles police were investigating him as early as 2016, when they questioned him about a forged Keith Haring offered to a Miami gallery.[2] Although he traveled often to California, Righter resided primarily Florida where he was arrested on July 19, 2019 on fraud and identity theft charges where he was trying to sell counterfeit art, for more than $1 million to a gallery owner.[3] The California case was eventually transferred to the Southern District of Florida where his case with respect to his arrest had already begun.

Righter’s Modus Operandi

According to the U.S. Attorney, Erik M. Silber’s complaint filed in California, Phillip Righter started selling fake artworks to galleries and art collectors by telling prospective buyers he inherited some of the works from his grandmother and created elaborate backstories to make the forged artworks seem authentic.[4] He forged documents to show links between the artworks and his family, a Wisconsin art museum, and a prominent New York City gallery. Also according to the allegations against him, Righter told one prospective buyer that he had donated a number of his artworks to his Ivy League alma mater,[5] all of which was an effective lie. On August 1, 2016 Righter sent an email to the owner of a prominent art gallery in Aventura, FL, that falsely stated that he owned a collection of Keith Haring works in New York, beginning his string of many lies whereby he falsely claimed ownership of artworks by Haring and Jean-Michel Basquiat.[6] In his communications with different prospective buyers, lenders, and third-party brokers, he would give specific payment instructions to direct funds to him, following which he would sent a shipment of forged and fraudulent artworks, accompanied with fake certificates of authenticity.[7]

Unauthenticated Certificates of Authenticity

Righter quickly understood the value of certificates of authenticity in determining a work’s marketability and value, which can be demonstrated through the artwork’s certification from a qualified authority, such as the artist’s estate or foundation.[8] These letters, if credible, are even more valuable when an estate ceases to authenticate artworks. Both estates of Jean-Michel Basquiat and Keith Haring disbanded their authentication committees in 2012 due to complicated lawsuits,[9] which Righter used to his advantage.

The record shows that in 2016, after a brief encounter with the FBI, Righter stopped acting in his own name and started to forge letters of authenticity to make the art more believable to buyers. This led to two counts of identity theft in Florida:

  • The first count for the name and signature of Julia Gruen, the former Executive Director of the Keith Haring Foundation, on a fraudulent authentication letter dated August 2016.[10]
  • The second count applies to the similar usage of the name and signature of Gerard Basquiat, the artist’s father and the first Administrator of the Estate of Jean-Michel Basquiat.[11]

Fake artworks and authentication letters purporting to be issued by the Jean-Michel Basquiat Foundation. Exhibits submitted in the indictment in U.S. v. Righter, No. 1:20-cr-20164 (C.D. Cal. July 15, 2020).

To endow the fraudulent with convincing pedigree, Righter also ordered stamps that appeared as if they were authentic stamps of “The Authentication Committee of the Estate of Jean-Michel Basquiat” and “The Estate of Keith Haring, Seal of Authenticity.” Along with the stamps, Righter also created fraudulent gallery labels for the fake Basquiat artwork stating the piece was purchased from the Annina Nosei Gallery, a New York gallery specializing in Basquiat art. These fraudulent labels, stamps, and documents caused victims to believe that the artworks were legitimate.

Righter’s scheme also enabled him to use fake artworks as collateral to obtain loans.[12] Along with the Basquiat and Haring works, he was also able to successfully submit a fake Roy Litchenstein piece as a collateral for a $100,000 loan.[13] In total, Righter’s “fraudulent scheme caused an actual loss of at least $758,265 and had intended loss of at least $5,656,500.”[14]

Lastly, around February 26, 2016, Righter “willfully made and subscribed to a materially false Amended United States Income Tax Return, Form 1040X, for the tax year 2015, which was verified by written declaration that it was made under the penalty of perjury, which was filed with the Internal Revenue Service.”[15] Righter knew this was a lie. He claimed a false casualty and theft loss of $2,575,00 related to artwork that he had claimed to be stolen, which in reality was fraudulent and had no value. He was not entitled to claim that loss, yet he received over $100,000 in returns.

Righter’s Fall

The Los Angeles police had been investigating Righter as early as 2016 for these fraudulent activities. An FBI agent and a detective from the Los Angeles Police Department interviewed Righter about the fraudulent Keith Haring art that he attempted to sell to a Miami gallery and warned him about selling fraudulent art. Nonetheless, his fraudulent art activities continued. Eventually his schemes caught up to him, and on July 19, 2019, he was arrested in South Florida on fraud and identity theft charges. The first case was filed on June 20, 2019 in the United States District Court Southern District of Florida. As his schemes in both Florida and California came to light after his arrest, a second case was filed on March 23, 2020 in the United States Central District of California. Since he was arrested in Florida and the cases involved the same illegal actions, the California case was transferred over to the District Court for the Southern District of Florida.

In the California case, Righter “admitted using fake paintings as collateral for loans on which he later defaulted and using fraudulent pieces for fraudulent write-offs on his income tax returns.” He agreed to plead guilty to the [all] three felony offenses in the case originally begun in California.[16] In Florida, on March 12, 2020, Philip Righter pleaded guilty to one count of mail fraud and one count of aggravated identity theft. He was also found guilty of wire fraud, aggravated identity theft, tax fraud, and mail fraud. Whereas he could have faced up to 25 years in prison, U.S. District Judge Marcia G. Cooke chose to sentence him to 60 months’ imprisonment in both cases, which he will be able to serve simultaneously since the illegal actions and the incidents were very close together in time.

Takeaways

Experts say the problem of fraudulent art has grown because of the increase of online art sales. There have also been new inventions of more sophisticated methods to forging artworks that have led to an increase in forgeries.[17] Erik Silber, a prosecutor from the U.S. Attorney’s Office in Los Angeles, said the scope of the plea agreement in Righter’s case will send an abundantly clear message to people looking to engage in this kind of fraudulent activity. He also stated in a phone interview with Courthouse News that “hopefully this will send a message from the FBI’s Art Crime Team and the United States Attorney’s Office that these types of cases will be fully prosecuted.”[18]

This case also shows the importance of having certificates of authenticity for artworks by artists whose estates no longer authenticate artworks. Art buyers and sellers should be aware of what estates do not authenticate works anymore and when exactly they disbanded. This will make it easier to tell when something like an authentication letter has been forged which will hint that the artwork is also forged. The works in both these cases have been seized by the FBI[19] and are no longer in circulation, but there may be more of Righter’s fakes in the market––art buyer beware!


Endnotes:

  1. U.S. v. Righter, No. 1:19-cr-20370 (S.D. Fla. July 15, 2020) and U.S. v. Righter, No. 1:20-cr-20164 (C.D. Cal. July 15, 2020). ↑
  2. Sarah Cascone, A Los Angeles Man Who Forged Documents to ‘Authenticate’ Fake Works by Warhol and Basquiat Has Pleaded Guilty to Federal Fraud Charges, Artnet News (Mar. 11, 2020). ↑
  3. Release, U.S. Att’y Office for S.D. Fla., A California Resident Charged in Scheme to Sell Forged Artworks in South Florida (Aug. 7, 2019). See also, Daniel Victor and Christine Hauser, California Man Pleads Guilty in $6 Million Art Fraud Case, New York Times (Mar. 13, 2020). ↑
  4. Id. ↑
  5. U.S. Attn’y Office for S.D. Fla., supra. ↑
  6. FL: Indictment, 6, U.S. v. Righter, No. 1:19-cr-20370 (S.D. Fla. July 15, 2020). ↑
  7. FL: Indictment, 5, U.S. v. Righter, No. 1:19-cr-20370 (S.D. Fla. July 15, 2020). ↑
  8. FL: Indictment, 2, U.S. v. Righter, No. 1:19-cr-20370 (S.D. Fla. July 15, 2020). ↑
  9. Irina Tarsis, Authentication Committees Disband: Warhol 2011, Basquiat 2012, Who’s Next?, Center for Art Law (Jan. 25, 2012); The Keith Haring Foundation Announces Its Decision To Disband Authentication Committee, Center for Art Law (Sept. 20, 2012). ↑
  10. FL: Indictment, 8, U.S. v. Righter, No. 1:19-cr-20370 (S.D. Fla. July 15, 2020). ↑
  11. Id. ↑
  12. Id. ↑
  13. CA: Plea Agreement,13, U.S. v. Righter, No. 1:20-cr-20164 (C.D. Cal. July 15, 2020). ↑
  14. CA: Plea Agreement,16, U.S. v. Righter, No. 1:20-cr-20164 (C.D. Cal. July 15, 2020). ↑
  15. CA: Indictment, 5, U.S. v. Righter, No. 1:20-cr-20164 (C.D. Cal. July 15, 2020). ↑
  16. Daniel Victor and Christine Hauser, supra. ↑
  17. Id. ↑
  18. Carson McCullough, California Man Pleads Guilty to Modern Art Fraud Scheme, Courthouse News (Mar. 10, 2020). ↑
  19. Margaret Carrigan, California man sentenced to five years in prison for $6m international art fraud scheme, The Art Newspaper (July 16, 2020). ↑

About the Author: Olivia Baker was a Summer 2020 Intern at the Center for Art Law and a senior at Virginia Tech in Blacksburg, Virginia. She is studying Studio art history with minors in Art History and Business. Olivia can be reached at oliviab3@vt.edu.

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 Case Review: Meaders v. Helwaser (2020)
Next Case Review: René Gimpel’s Heirs Fight for Restitution by French Museums (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
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!

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

Loading Comments...

You must be logged in to post a comment.