Art Antiquity and Law is a Quarterly designed for all who value the cultural and historical environment.
The principal aim of the Quarterly is to inform. It exists to tell those who work in the art and antiquity world about the law governing their activities and the policies behind the law. It is founded on the belief, never more confident than today, that cultural life cannot exist in a legal vacuum. In our conviction, all responsible members of the art and history community should be aware of the role which law plays in shaping cultural policy. To understand law, however demanding the task, is to meet its challenges more effectively.
In pursuit of these aims, we have created a periodical which, besides giving an account of new legislation, case-law, public documents and official initiatives, gives considered opinions on more general points of law and practice. We believe that it will enable readers to absorb legal change and to respond coherently to it. We hope that it will also encourage them to think critically about public policy in relation to art and the protection of the past.
Art Antiquity and Law is designed for people who work in areas other than law, as well as for legal practitioners. Many articles are written by non-lawyers who have particular experience of applying or reforming the law. The Quarterly is accessible to collectors, auction houses and market consultants, archaeologists, developers, investors, anthropologists, fund managers, insurers and loss adjusters, solicitors and barristers, university lawyers, local authorities, museum officers, art historians, tax advisers, owners of historic properties and cultural policy advisers.
Vol XXVII, Issue 1, 2022
Nazi-Looted Art: What Israel Can and Should Learn from Germany
Restitution of Nazi-Looted Art: The French Law of 2022
Anti-Money Laundering Measures and ‘Art Market Participants’: Two Years On
The Grip of an Artist Estate on the Secondary Market: Moral Rights and the Importance of Archives
Is the Current UK Copyright Framework Sufficient for Protecting Technology in AI-Generated Art?
Asha Lee Jai Singh
Loot as a Lasting Influence in Revolusi! The Openness and Normalcy of Seizure
Vol XXVII, Issue 2, 2022
Buying Investment Art: Authenticy, Risk and a Four-Proof Framework
Benin Bronzes: Germany-Nigeria Joint Declaration
Vol XXVII, Issue 3, 2022
The HEAR Act: An Underutilised Tool for Recovering Holocaust-Looted Art is Scheduled Soon to Partially Expire
Martin Bienstock, Esq.
Vol XXVII, Issue 4 2022
Noli Me Tangere: Refining Québec’s Immunity From Seizure Legislation for Cultural Objects
François Le Moine
The Fine Art of Fraud
Natalia Faekova, Michelle George, Laurence Lieberman
Moral Rights of Artists in the German Legal System