• 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
      • 2025
    • Internship and Fellowship
    • Judith Bresler Fellowship
  • Case Law Database
  • 2025 Year-End Appeal
  • Log in
  • Become a Member
  • Donate
  • 2025 Year-End Appeal
  • 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
      • 2025
    • Internship and Fellowship
    • Judith Bresler Fellowship
  • Case Law Database
Home image/svg+xml 2021 Timothée Giet Case Review image/svg+xml 2021 Timothée Giet The Mask, Egyptian Funerary and Known to Legally Disappear
Back

The Mask, Egyptian Funerary and Known to Legally Disappear

May 31, 2012

https://www.theatlantic.com/national/archive/2012/05/for-the-st-louis-art-museum-a-legal-victory-raises-ethical-questions/257839/

US v. Mask of Ka-Nefer-Nefer is a case dealing with an Egyptian mask which may or may not have been sold or stolen sometime after it was excavated during a state-sponsored dig in the early 1950s, registered to the Egyptian Antiquities Service and shipped to Cairo for restoration in 1966. It went missing in 1973 and was purchased by an American museum in St. Louis  in 1998. The museum challenged a forfeiture claim and seemed to have won on its motion because the court found that the claim was “devoid of any facts showing that the Mask was ‘missing’ because it was stolen and then smuggled out of the country.” Judge Henry E. Autrey, who signed the opinion, must be an Egyptologist and a believer that sacred burial objects have mystical powers to disappear without human intervention and show up in dealers’ shops out of thin air.

According to Patty Gerstenblith, director of Center for Art, Museum & Cultural Heritage Law at DePaul University “This is the first time [she has] seen a public institution like a museum deciding to expend its funds to proactively sue the government.” Prof. Gerstenblith wrote one of the leading textbooks on cultural heritage law, so if she says it is the first, we should listen. The decision is surely the first to look at the lack of paper trail to say that the object which is located away from the place where it ought to be should stay where it landed.

For the full story, read The Atlantic.

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 CA District Court Finds State Resale Royalty Unconstitutional
Next Family of Holocaust Survivor Ordered to Return Artifact Taken from German Museum

Related Posts

The Art of Gifting Art

September 10, 2013

Turkey Battles Museums for Return of Antiquities Following Arab Spring

December 10, 2012

2011 Legal Issues in Museums Conference

May 25, 2011
Center for Art Law
Center for Art Law

Follow us on Instagram for the latest in Art Law!

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
Paul Cassier (1871-1926 was an influential Jewish Paul Cassier (1871-1926 was an influential Jewish art dealer. He owned and ran an art gallery called Kunstsalon Paul Cassirer along with his cousin. He is known for his role in promoting the work of impressionists and modernists like van Gogh and Cézanne. 

Cassier was seen as a visionary and risk-tasker. He gave many now famous artists their first showings in Germany including van Gogh, Manet, and Gaugin. Cassier was specifically influential to van Gogh's work as this first showing launched van Gogh's European career.

🔗 Learn more about the impact of his career by checking out the link in our bio!

#centerforartlaw #artlaw #legalresearch #law #lawyer #artlawyer #artgallery #vangogh
No strike designations for cultural heritage are o 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. 

This presentation discusses 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 your tickets using the link in our bio!

#centerforartlaw #artlaw #artlawyer #legalresearch #lawyer #culturalheritage #art #protection
What happens when culture becomes collateral damag What happens when culture becomes collateral damage in war?
In this episode of Art in Brief, we speak with Patty Gerstenblith, a leading expert on cultural heritage law, about the destruction of cultural sites in recent armed conflicts.

We examine the role of international courts, the limits of accountability, and whether the law can truly protect history in times of war.

We would like to also thank Rebecca Bennett for all of her help on this episode. 

 🎙️ Click the link in our bio to listen anywhere you get your podcasts.

#centerforartlaw #artlaw #legalresearch #artlawyer #lawyer #podcast #artpodcast #culturalheritage #armedconflict #internationallaw
Where did you go to recharge your batteries? Where did you go to recharge your batteries?
Let there be light! Center for Art Law is pleased Let there be light! Center for Art Law is pleased to share with you a work of art by Sofia Tomilenko, an illustration artist from Kyiv, Ukraine. This is Sofia's second creation for us and as her Lady Liberty plays tourist in NYC, we wish all of you peace and joy in 2026! 

Light will overcome the darkness. Світло переможе темряву. Das Licht wird die Dunkelheit überwinden. La luz vencerá la oscuridad. 

#artlaw #peace #artpiece #12to12
Writing during the last days and hours of the year Writing during the last days and hours of the year is de rigueur for nonprofits and what do we get?

Subject: Automatic reply: Thanks to Art Law! 

"I am now on leave until January 5th. 
. . .
I will respond as soon as I can upon on my return. For anything urgent you may contact ..."

Well, dear Readers, Students, Artists and Attorneys, we see you when you're working, we know when you're away, and we promise that in 2026 Art Law is coming to Town (again)!

Best wishes for 2026, from your Friends at the Center for Art Law!

#fairenough #snowdays #2026ahead #puttingfunback #fundraising #EYO2025
Less than a week left in December and together we Less than a week left in December and together we have raised nearly $32,000 towards our EOY fundraising $35,000 goal. If we are ever camera shy to speak about our accomplishments or our goals, our work and our annual report speak for themselves. 

Don’t let the humor and the glossy pictures fool you, to reach our full potential and new heights in 2026, we need your vote of confidence. No contribution is too small. What matters most is knowing you are thinking of the Center this holiday season. Thank you, as always, for your support and for being part of this community! 

#artlaw #EOYfundraiser #growingin2026 #AML #restitution #research #artistsright #contracts #copyright #bringfriends
This summer, art dealer James White and appraiser This summer, art dealer James White and appraiser Paul Bremner pleaded guilty for their participation in the third forgery ring of Norval Morisseau works uncovered by Canadian authorities. Their convictions are a key juncture in Canda's largest art fraud scheme, a scandal that has spanned decades and illuminated deep systemic failures within the art market to protect against fraud. 

Both White and Bremner were part of what is referred to as the 'Cowan Group,' spearheaded by art dealer Jeffrey Cowan. Their enterprise relied on Cowan fabricating provenance for the forged works, which he claimed were difficult to authenticate. 

In June, White, 87, pleaded guilty to to creating forged documents and possessing property obtained by crime for the purpose of trafficking. Later, in July, Paul Bremner pleaded guilty to producing and using forged documents and possessing property obtained through crime with the intent of trafficking. While Bremner, White, and Cowan were all supposed to face trial in the Fall, Cowan was the only one to do so and was ultimately found guilty on four counts of fraud. 

🔗 Click the link in our bio to read more.

#centerforartlaw #artlaw #legalresearch #artfraud #artforgery #canada #artcrime #internationallaw
It's the season! It's the season!
In 2022, former art dealer Inigo Philbrick was sen In 2022, former art dealer Inigo Philbrick was sentenced to seven years in prison for committing what is considered one of the United States' most significant cases of art fraud. With access to Philbrick's personal correspondence, Orlando Whitfield chronicled his friendship with the disgraced dealer in a 2024 memoir, All that Glitters: A Story of Friendship, Fraud, and Fine Art. 

For more insights into the fascinating story of Inigo Philbrick, and those he defrauded, read our recent book review. 

🔗 Click the link in our bio to read more!

#centerforartlaw #legalresearch #artlaw #artlawyer #lawer #inigophilbrick #bookreview #artfraud
  • 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