• 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
        • 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
        • 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 Cultural Heritage image/svg+xml 2021 Timothée Giet Hopi Restitution Suits: Questions of Standing and Rights
Back

Hopi Restitution Suits: Questions of Standing and Rights

October 1, 2015

logo

By Lindsay Voirin, Esq.

Center for Art Law previously reported that the Hopi Tribal Council partnered with the Holocaust Art Restitution Project (HARP) to file suit against France’s board of auctions for refusing to stop the sale of sacred Hopi objects, having concluding that Native American tribes lack legal standing to bring a cultural claim in France. The partnership was at once unexpected and tactically sound. In this article, we review the background for the case and the procedural history

*  *  *

Source: Sacred Hopi and Acoma objects are displayed at the Drouot auction house in Paris prior to auction, June 10, 2015. REUTERS/JACKY NAEGELEN
Sacred objects as displayed at the Drouot auction house prior to June 2015 auction. Source: Reuters/Jacky Naegelen.

The controversy concerns Hopi artifacts that are religious objects necessary for the use and the continuation of the Hopi religion by present day adherent. Known as kwaa tsi, and sometimes described as “katsina friends,” these artifacts are offered for sale by French auction houses, despite protests and lawsuits filed by the Hopi Tribe to enjoin the sales.

The katsina friends go through a ceremonial process of deification whereby they embody spiritual life. They then become a “Katsina” and serve as a messenger to the spiritual domain for rain and life blessings. Katsina friends are used during katsina religious ceremonies.These artifacts are considered sacred objects and objects of cultural patrimony and cannot be transferred, sold, conveyed or removed from the tribal land without permission of the Hopi Tribe. However, recently they have been included in at least six auctions in France between 2013 and 2015.

Every time kwaa tsi are offered for sale, the Hopi Tribe objects vehemently, yet their pleas remain disregarded. Therefore, the Tribe representatives have turned to administrative and legal mechanisms to attempt to enjoin the sales since 2013. The Hopi Tribal Council has filed suits in French civil courts on various occasions preceding the sales, including in April 2013, December 2013, and June 2014. Unfortunately, these judicial attempts to enjoin the sales have been unsuccessful. Furthermore, administrative petitions to the “Conseil des Ventes” (“CVV”), a French regulatory body tasked with overseeing auctions in France, have also failed. In its decisions, the CVV repeatedly held that the Hopi Tribe did not have the legal capacity to sue in France.

Article 27, United Nations Declaration on the Rights of Indigenous People (2007)
Article 27, United Nations Declaration on the Rights of Indigenous People (2007).

Internationally, the 2007 United Nations Declaration on the Rights of Indigenous People (UNDRIP) sets forth rights of indigenous people such as the right to be free from discrimination in the exercise of their rights. The current French laws have not yet been interpreted to allow an indigenous tribe or individual leader of a group to have a legal existence or standing to bring a cultural claim in French court.

In order to succeed in stopping the sales in France, the Hopi claimants have to first prove that they have standing to bring a cultural claim in a French court. The strategy of partnering with an non-government organization (NGO) to effectuate legal standing is not a new strategy. The Hopis previously partnered with Survival International France, an NGO that helps tribal people defend their land and protect their livelihood. In that instance, the court acknowledged standing but dismissed the claim on the grounds that Survival International could not legally represent the Hopis to sue for repatriation of the masks.

In both the previous 2014 case and in the instant case brought by the Ciric Law Firm on behalf of the Hopis and HARP to enjoin the sales of the Hopi artifacts, the CVV dismissed the cases on the basis that the Hopis lack standing. In fact, the CVV held that no Native American group qualifies for legal standing to bring a cultural claim in France. Moreover, the Board refused to consider evidence that legal title could not have vested in subsequent possessors of the masks. Article 1-5-1 of the Board’s Code of Ethics for Auction Houses stipulates that auction operators have a duty to investigate the provenance of objects sold. When faced with requests to apply Article 1-5-1 and require that that the provenance of the objects be considered, the Board refused, finding that the auction house acted in good faith.

Source: ABC15.com
Source: ABC15.com

Future attempts to sell Hopi artifacts at French auction houses will likely be faced with similar suits and requests to enjoin the sales. It seems unlikely that the CVV or the French civil courts will change their position without a change in legislation. As for a legislative solution, the CVV has the power to set forth proposals for legislative and regulatory changes. Recently, a strong faction of advocates for repatriation of Hopi artifacts has begun to lobby government officials. The simple solution is for France to recognize and accept Article 27 of UNDRIP, which requires the State to establish and implement a process to adjudicate the rights of indigenous peoples pertaining to their land, territories and resources. Only upon legal recognition of the Hopis can the French Board and French civil court begin to adjudicate the Hopis claims requesting injunction of future sales and repatriation of sacred artifacts.

Select Sources:

  • Holocaust restitution group fights for Hopi tribe, The Art Newspaper (May 1, 2015) http://theartnewspaper.com/market/auctions/154609/.
  • Hopi sacred masks auctioned off in Paris despite tribe’s protests (June 11, 2015)
  • http://blogs.reuters.com/faithworld/2015/06/11/hopi-sacred-masks-auctioned-off-in-paris-despite-tribes-protests/.
  • Hopi Tribe, lawmakers urge US to stop sale of sacred items (May 27, 2015) http://www.tucsonnewsnow.com/story/29170200/sacred-hopi-artifacts-to-be-sold-in-french-auction.
  • Indigenous Peoples’ Cultural Property Claims: Repatriation and Beyond, Karolina Kuprecht, Springer International Publishing (2014), p. 134.
  • Opinion: Hopi and Navajo Masks Auction Precedent in France is Dangerous, Pierre Ciric (July 25, 2014) available at https://news.artnet.com/art-world/opinion-hopi-and-navajo-masks-auction-precedent-in-france-is-dangerous-66975.
  • Press Release, The CIric Law Firm (June 1, 2015) http://www.hopi-nsn.gov/wp-content/uploads/2015/06/6-1-2-15_Hopi-Chairman-and-Holocaust-Art-Restitution-Project-HARP-denounce-decision-by-French-Government.pdf.
  • United Nations Declaration on the Rights of Indigenous Peoples (March 2008), available at http://www.un.org/esa/socdev/unpfii/documents/DRIPS_en.pdf.

*About the Author: Lindsay Voirin is a patent attorney and current student at NYU Wagner School of Public Service, where she is working toward a Master in Public Administration. Her career interests include intellectual property, technology, international development and human rights law.

Disclaimer: This article is for educational purposes only and is not meant to provide legal advice. Any views or opinions made in the linked article are the authors alone. Readers are not meant to act or rely on the information in this article without attorney consultation.

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 The New Frontier of Cultural Property Protections: When Acquiring Cultural Objects Supports Terrorism
Next Towering Ban on Ivory Trade

Related Posts

Artifact Case Ends in Probation Order, Lesson Learned?

November 21, 2011
logo

Antiquities and Crimes

November 4, 2010

Accession by Colombia to the Second Protocol to the Hague Convention

December 2, 2010
Center for Art Law
Center for Art Law

Follow us on Instagram for the latest in Art Law!

The expansion of the use of collaborations between The expansion of the use of collaborations between artists and major consumer corporations brings along a myriad of IP legal considerations. What was once seen in advertisement initiatives  has developed into the creation of "art objects," something that lives within a consumer object while retaining some portion of an artists work. 

🔗 Read more about this interesting interplay in Natalie Kawam Yang's published article, including a discussion on how the LOEWE x Ghibli Museum fits into this context, using the link in our bio.
We can't wait for you to join us on February 4th! We can't wait for you to join us on February 4th!  Check out the full event description below:

Join the Center for Art Law for an in-person, full-day training aimed at preparing lawyers for working with art market participants and understanding their unique copyright law needs. The bootcamp will be led by veteran art law attorneys, Louise Carron, Barry Werbin, Carol J. Steinberg, Esq., Scott Sholder, Marc Misthal, specialists in copyright law. 

This Bootcamp provides participants -- attorneys, law students, law graduates and legal professionals -- with foundational legal knowledge related to copyright law for art market clients. Through a combination of instructional presentations and mock consultations, participants will gain a solid foundation in copyright law and its specificities as applied to works of visual arts, such as the fair use doctrine and the use of generative artificial intelligence tools.

🎟️ Grab tickets using the link in our bio!
Don't forget to grab tickets to our upcoming Collo Don't forget to grab tickets to our upcoming Colloquium, discussing the effectiveness of no strike designations in Syria, on February 2nd. Check out the full event description below:

No strike designations for cultural heritage are one mechanism by which countries seek to uphold the requirements of the 1954 Hague Convention. As such, they are designed to be key instruments in protecting the listed sites from war crimes. Yet not all countries maintain such inventories of their own whether due to a lack of resources, political views about what should be represented, or the risk of misuse and abuse. This often places the onus on other governments to create lists about cultures other than their own during conflicts. Thus, there may be different lists compiled by different governments in a conflict, creating an unclear legal landscape for determining potential war crimes and raising significant questions about the effectiveness of no strikes as a protection mechanism. 

Michelle Fabiani will discuss current research seeking to empirically evaluate the effectiveness of no strike designations as a protection mechanism against war crimes in Syria. Using data on cultural heritage attacks from the height of the Syrian Conflict (2014-2017) compiled from open sources, a no strike list completed in approximately 2012, and measures of underlying risk, this research asks whether the designations served as a protective factor or a risk factor for a given site and the surrounding area. Results and implications for holding countries accountable for war crimes against cultural heritage are discussed. 

🎟️ Grab tickets using the link in our bio!

#centerforartlaw #artlaw #culturalheritage #lawyer #legalreserach #artlawyer
Don't miss our up coming in-person, full-day train Don't miss our up coming in-person, full-day training aimed at preparing lawyers for working with art market participants and understanding their unique copyright law needs. The bootcamp will be led by veteran art law attorneys, Louise Carron, Barry Werbin, Carol J. Steinberg, Esq., Scott Sholder, Marc Misthal, specialists in copyright law. 

This Bootcamp provides participants -- attorneys, law students, law graduates and legal professionals -- with foundational legal knowledge related to copyright law for art market clients. Through a combination of instructional presentations and mock consultations, participants will gain a solid foundation in copyright law and its specificities as applied to works of visual arts, such as the fair use doctrine and the use of generative artificial intelligence tools.

🎟️ Grab tickets using the link in our bio! 

#centerforartlaw #artlaw #legal #research #lawyer #artlawyer #bootcamp #copyright #CLE #trainingprogram
In order to fund acquisitions of contemporary art, In order to fund acquisitions of contemporary art, The Phillips Collection sold seven works of art from their collection at auction in November. The decision to deaccession three works in particular have led to turmoil within the museum's governing body. The works at the center of the controversy include Georgia O'Keefe's "Large Dark Red Leaves on White" (1972) which sold for $8 million, Arthur Dove's "Rose and Locust Stump" (1943), and "Clowns et pony" an 1883 drawing by Georges Seurat. Together, the three works raised $13 million. Three board members have resigned, while members of the Phillips family have publicly expressed concerns over the auctions. 

Those opposing the sales point out that the works in question were collected by the museum's founders, Duncan and Marjorie Phillips. While museums often deaccession works that are considered reiterative or lesser in comparison to others by the same artist, the works by O'Keefe, Dove, and Seurat are considered highly valuable, original works among the artist's respective oeuvres. 

The museum's director, Jonathan P. Binstock, has defended the sales, arguing that the process was thorough and reflects the majority interests of the collection's stewards. He believes that acquiring contemporary works will help the museum to evolve. Ultimately, the controversy highlights the difficulties of maintaining institutional collections amid conflicting perspectives.

🔗 Click the link in our bio to read more.
Make sure to check out our newest episode if you h Make sure to check out our newest episode if you haven’t yet!

Paris and Andrea get the change to speak with Patty Gerstenblith about how the role international courts, limits of accountability, and if law play to protect history in times of war.

🎙️ Click the link in our bio to listen anywhere you get your podcasts!
Alexander Butyagin, a Russian archaeologist, was a Alexander Butyagin, a Russian archaeologist, was arrested by Polish authorities in Warsaw. on December 4th. Butyagin is wanted by Ukraine for allegedly conducting illegal excavations of Myrmekion, an ancient city in Crimea. Located in present-day Crimea, Myrmekion was an Ancient Greek colony dating to the sixth century, BCE. 

According to Ukrainian officials, between 2014 and 2019 Butyagin destroyed parts of the Myrmekion archaeological site while serving as head of Ancient Archaeology of the Northern Black Sea region at St. Petersburg's Hermitage Museum. The resulting damages are estimated at $4.7 million. Notably, Russia's foreign ministry has denounced the arrest, describing Poland's cooperation with Ukraine's extradition order as "legal tyranny." Russia invaded and annexed Crimea in 2014.

🔗 Read more by clicking the link in our bio

#centerforartlaw #artlaw #artcrime #artlooting #ukraine #crimea
Join us on February 18th to learn about the proven Join us on February 18th to learn about the provenance and restitution of the Cranach painting at the North Carolina Museum of Art.

A beloved Cranach painting at the North Carolina Museum of Art was accused of being looted by the Nazis. Professor Deborah Gerhardt will describe the issues at stake and the evidentiary trail that led to an unusual model for resolving the dispute.

Grab your tickets today using the link in our bio!

#centerforartlaw #artlaw #legal #legalresearch #museumissues #artwork
“In the depth of winter, I finally learned that wi “In the depth of winter, I finally learned that within me there lay an invincible summer."
~ Albert Camus, "Return to Tipasa" (1952) 

Camus is on our reading list but for now, stay close to the ground to avoid the deorbit burn from the 2026 news and know that we all contain invincible summer. 

The Center for Art Law's January 2026 Newsletter is here—catch up on the latest in art law and start the year informed.
https://itsartlaw.org/newsletters/january-newsletter-which-way-is-up/ 

#centerforartlaw #artlaw #lawyer #artlawyer #legalresearch #legal #art #law #newsletter #january
Major corporations increasingly rely on original c Major corporations increasingly rely on original creative work to train AI models, often claiming a fair use defense. However, many have flagged this interpretation of copyright law as illegitimate and exploitative of artists. In July, the Senate Judiciary Committee on Crime and Counterterrorism addressed these issues in a hearing on copyright law and AI training. 

Read our recent article by Katelyn Wang to learn more about the connection between AI training, copyright protections, and national security. 

🔗 Click the link in our bio to read more!
Join the Center for Art Law for an in-person, all- Join the Center for Art Law for an in-person, all-day  CLE program to train lawyers to work with visual artists and their unique copyright needs. The bootcamp will be led by veteran art law attorneys specializing in copyright law.

This Bootcamp provides participants -- attorneys, law students, law graduates and legal professionals -- with foundational legal knowledge related to copyright law for art market clients. Through a combination of instructional presentations and mock consultations, participants will gain a solid foundation in copyright law and its specificities as applied to works of visual arts, such as the fair use doctrine and the use of generative artificial intelligence tools. 

🎟️ Grab tickets using the link in our bio!
Our interns do the most. Check out a day in the li Our interns do the most. Check out a day in the life of Lauren Stein, a 2L at Wake Forest, as she crushes everything in her path. 

Want to help us foster more great minds? Donate to Center for Art Law.

🔗 Click the link below to donate today!

https://itsartlaw.org/donations/new-years-giving-tree/ 

#centerforartlaw #artlaw #legal #legalresearch #caselaw #lawyer #art #lawstudent #internships #artlawinternship
  • 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.