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Art Law and the Business of Art 2nd edition [Hardback]

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  • Formāts: Hardback, 484 pages, height x width: 216x138 mm
  • Sērija : Elgar Practical Guides
  • Izdošanas datums: 23-Dec-2022
  • Izdevniecība: Edward Elgar Publishing Ltd
  • ISBN-10: 1800885768
  • ISBN-13: 9781800885769
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Art Law and the Business of Art 2nd editionPalielināt
  • Formāts: Hardback, 484 pages, height x width: 216x138 mm
  • Sērija : Elgar Practical Guides
  • Izdošanas datums: 23-Dec-2022
  • Izdevniecība: Edward Elgar Publishing Ltd
  • ISBN-10: 1800885768
  • ISBN-13: 9781800885769
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9781800885769.html
Keywords:
In this fully revised and updated second edition of Art Law and the Business of Art, Martin Wilson, an art lawyer with more than 20 years experience in the field, provides a comprehensive and practical guide to the application of UK law to transactions and disputes in the art world.

Accessible and informative for lawyers and non-lawyers alike, this indispensable book not only outlines and explains the relevant law but also how the art business operates in practice. Chapters cover the full breadth of legal and commercial issues affecting the sale and purchase of art in various contexts, and other issues such as artists rights in their work, import and export of artworks, art disputes, and confidentiality and data protection are all examined in detail. Wilson also offers an in-depth discussion of the most pressing ethical questions involving artworks, including Holocaust restitution, cultural heritage, and freedom of expression.





New to this Edition:









Thoroughly revised guidance on new anti-money laundering requirements Updated discussion in the context of Brexit and the impact of the Covid-19 pandemic New coverage of the emerging issues such as the treatment of NFTs and the increased use of internet auctions





This book will prove invaluable to lawyers advising on all aspects of art law and many others in the art business, including artists themselves, art dealers, and those working in auction houses and museums. It will also be crucial reading for scholars and students with an interest in art law and business.

Recenzijas

Acclaim for the previous edition:<> A tour de force<> that covers the nuts and bolts of the practical workings of the international art market from A to Z. From the useful glossary at the start to the detailed description of the regulatory environment at the end, it provides a readily comprehensible explanation of the whys and wherefores of the market drawing on the authors unparalleled experience of decades working at its heart. Its broad sweep means it will become an invaluable reference work for everyone who works in and around the art market, providing practical advice on the dos and donts when dealing with all sorts of issues that arise, both the everyday and the more complex. Martin Wilson is to be congratulated on filling a real gap with this much-needed and fascinating guide. -- Roland Foord, Stephenson Harwood LLP, London, UK From his wealth of experience as a lawyer on the inside of Christies auction house and now Phillips, Martin Wilson has produced an indispensable guide to art law and business. He succinctly summarises the key elements of the art market's workings and the law as it applies in the UK. This is essential reading for those new to the territory and an excellent practical overview for those who are already familiar with it. The insights Martin gives are a wonderful basis for learning and helpfully summarise what ordinarily takes many years in the field to ascertain. If only something like this had existed when I founded Art Law at Mishcon de Reya in 1995! -- Karen Sanig, Mishcon de Reya, London, UK Martin Wilson combines an astute legal mind with practical experience gained from many years of working in auction businesses. This book will be indispensable reading for anyone wishing to gain a clear understanding of the complexities of todays art market. -- Anthony Browne, British Art Market Federation

Preface xx
Notes xxiii
Glossary of art terms xxv
Table of cases
xxxi
Table of legislation
xxxiv
1 The artist and the artwork
1(51)
1.1 Copyright
1(19)
1.1.1 What types of artwork are protected by copyright?
2(5)
1.1.2 The requirement of originality
7(3)
1.1.3 Duration of protection
10(1)
1.1.4 Ownership of copyright
11(1)
1.1.5 Copyright infringement
12(2)
1.1.6 Substantial part
14(1)
1.1.7 Inexact copies and imitation
14(1)
1.1.8 Fair dealing
14(3)
1.1.9 Implied licences
17(1)
1.1.10 The Internet
17(3)
1.2 Moral rights
20(7)
1.2.1 Introduction
20(1)
1.2.2 Moral rights
21(5)
1.2.3 Application of moral rights
26(1)
1.3 Artist's resale right
27(6)
1.3.1 Introduction
27(1)
1.3.2 Artist's resale royalty in the United Kingdom
28(5)
1.4 Royalties and enforcement
33(4)
1.4.1 Introduction
33(1)
1.4.2 Royalties
33(1)
1.4.3 Enforcement
34(3)
1.5 Graffiti and street art
37(5)
1.5.1 Graffiti and street art as a recognised art form
38(3)
1.5.2 Graffiti, street art and protection of third party property rights
41(1)
1.6 NFTs and digital art
42(10)
1.6.1 What is a non-fungible token?
43(1)
1.6.2 Creating and selling a non-fungible token
44(1)
1.6.3 Early NFT sales
44(1)
1.6.4 The advantages of NFTs
45(1)
1.6.5 Potential legal issues with NFTs
46(4)
1.6.6 Fractional ownership
50(2)
2 Auction sales: introduction
52(23)
2.1 The popularity and psychology of the auction
52(4)
2.2 The auction process
56(19)
2.2.1 The decision to sell
57(1)
2.2.2 Consignment of the property and the choice of auction house
58(1)
2.2.3 The seller's commission and costs
59(1)
2.2.4 The sale calendar
60(1)
2.2.5 Cataloguing
61(1)
2.2.6 Provenance
62(2)
2.2.7 Estimates
64(2)
2.2.8 Condition reports
66(1)
2.2.9 Catalogue and marketing
66(1)
2.2.10 The reserve price
67(1)
2.2.11 Viewing
68(1)
2.2.12 Saleroom announcements
68(1)
2.2.13 Buyer registration
69(1)
2.2.14 Bidding
69(3)
2.2.15 The hammer
72(1)
2.2.16 Charges to the buyer
73(1)
2.2.17 Payment and proceeds of sale
73(1)
2.2.18 Collection
74(1)
3 Auctions: the auction house
75(49)
3.1 The auction house and the seller
75(26)
3.1.1 Fiduciary duties
76(5)
3.1.2 Duty to care for the principal's property
81(2)
3.1.3 Duty to act with skill and care
83(4)
3.1.4 Auctioneer's obligations to the seller imposed by consumer law
87(3)
3.1.5 Auctioneer's contractual rights and obligations in relation to the seller under the agency agreement
90(11)
3.2 The auction house and the buyer
101(23)
3.2.1 The auctioneer's liability to the buyer
102(6)
3.2.2 The rights and obligations of the buyer
108(9)
3.2.3 Exclusions and limits on liability
117(7)
4 Auctions: financial arrangements
124(11)
4.1 Advances, loans and credit arrangements
124(5)
4.1.1 Interest
125(1)
4.1.2 Security
125(3)
4.1.3 Consumer credit regulations
128(1)
4.2 Guarantees and risk sharing arrangements
129(6)
4.2.1 Guarantees
129(2)
4.2.2 Risk sharing arrangements
131(4)
5 Ownership and authenticity
135(36)
5.1 Title and ownership
135(9)
5.1.1 Title to stolen property
136(1)
5.1.2 Conversion
137(3)
5.1.3 Ownership of abandoned or lost property
140(2)
5.1.4 Limitation periods
142(2)
5.2 Authenticity and attribution
144(9)
5.2.1 The attribution process
145(1)
5.2.2 Certificates of authenticity
145(2)
5.2.3 The role and legal position of scholars, foundations and catalogue raisonne authors
147(5)
5.2.4 Scientific testing
152(1)
5.3 The role and legal position of the auction house in relation to attribution
153(18)
5.3.1 Underattribution -- the sleeper
153(5)
5.3.2 Overattribution
158(3)
5.3.3 The psychology of authenticity
161(2)
5.3.4 Forgery risk
163(6)
5.3.5 Authenticity and the blockchain
169(2)
6 Auctions: policing the saleroom
171(7)
6.1 Mock auctions
171(1)
6.2 Bidding agreements and auction rings
172(3)
6.3 Estimates and consumer pricing information
175(3)
7 Auctions: online auctions
178(11)
7.1 Forms of online auction
181(7)
7.1.1 Online bidding in physical auctions
181(1)
7.1.2 The eBay model
182(2)
7.1.3 The time limited online only auction
184(4)
7.2 Sale location, applicable law and court jurisdiction
188(1)
8 Auctions: negotiating agency agreements
189(5)
8.1 Introduction
189(1)
8.2 Timing of the sale
190(1)
8.3 Marketing of the sale
190(1)
8.4 Seller's warranties
190(1)
8.5 Catalogue description
191(1)
8.6 Loss and damage to the artwork
191(1)
8.7 Aftersales
192(1)
8.8 Payment
192(1)
8.9 Withdrawal
193(1)
8.10 Cancellation of the sale
193(1)
9 Private sales of art
194(35)
9.1 Introduction
194(1)
9.2 Structure and negotiation of a private sale agreement between buyer and seller
195(3)
9.2.1 Parties
195(1)
9.2.2 Price
195(1)
9.2.3 Warranties
196(1)
9.2.4 Disclaimers of warranty
196(1)
9.2.5 Condition
197(1)
9.2.6 Passing of title
197(1)
9.2.7 Release of the artwork to the buyer
197(1)
9.2.8 Transfer of risk
198(1)
9.2.9 Authenticity
198(1)
9.2.10 Confidentiality
198(1)
9.2.11 Disputes
198(1)
9.3 Structure and negotiation of private sale agreements using agents
198(5)
9.3.1 Purpose of the appointment
199(1)
9.3.2 The artworks to be sold
199(1)
9.3.3 Exclusivity
199(1)
9.3.4 Term
199(1)
9.3.5 Price
200(1)
9.3.6 Agent's commission
200(1)
9.3.7 Sale charges
201(1)
9.3.8 Payment
201(1)
9.3.9 Warranties
201(1)
9.3.10 Physical possession
202(1)
9.3.11 Insurance
202(1)
9.3.12 Transfer of ownership and risk
202(1)
9.3.13 Confidentiality
203(1)
9.3.14 Disputes
203(1)
9.4 Implied terms in private sales
203(2)
9.4.1 Correspondence with description
203(1)
9.4.2 Satisfactory quality
204(1)
9.4.3 Title, quiet possession and freedom from charges
204(1)
9.5 Exclusions and limits on liability in private sales agreements
205(3)
9.5.1 Exclusions and limitation of liability in the conditions of sale
205(3)
9.6 Consumer buyer cancellation rights
208(3)
9.6.1 Definitions of consumers and traders
209(1)
9.6.2 Cancellation rights in private sales of artworks by distance contract
209(1)
9.6.3 Cancellation rights in private sales of artworks off-premises
210(1)
9.6.4 Information rights in consumer private sale contracts
210(1)
9.7 Agent's liability to the buyer and seller
211(2)
9.8 Transparency, secret commissions and the problems arising from subagency
213(4)
9.9 Resale restriction clauses
217(6)
9.9.1 If the buyer is a consumer
218(2)
9.9.2 If the buyer is a trader
220(1)
9.9.3 A right against whom?
221(1)
9.9.4 What is the damage?
222(1)
9.10 The art dealer
223(6)
9.10.1 Introduction
223(1)
9.10.2 Stock sales
223(1)
9.10.3 Agency sales
224(1)
9.10.4 Sales on behalf of the artist
225(1)
9.10.5 Agreements between dealers and artists
225(4)
10 Ethics, public policy and art
229(69)
10.1 Holocaust restitution claims
229(20)
10.1.1 Holocaust confiscation and looting
229(1)
10.1.2 Postwar restitution efforts
230(1)
10.1.3 The 1998 Washington Conference
231(1)
10.1.4 Holocaust restitution claims in the United Kingdom
232(7)
10.1.5 The Spoliation Advisory Panel
239(5)
10.1.6 Holocaust (Return of Objects) Act 2009
244(1)
10.1.7 Immunity from seizure in the United Kingdom
244(1)
10.1.8 US court jurisdiction and Holocaust claims
245(2)
10.1.9 Holocaust looted art databases
247(2)
10.2 Cultural property and heritage
249(30)
10.2.1 International conventions on cultural property protection
253(4)
10.2.2 United Kingdom cultural property protection legislation
257(6)
10.2.3 Codes of conduct
263(5)
10.2.4 Civil remedies
268(5)
10.2.5 The future
273(5)
10.2.6 Guidance for the collector
278(1)
10.3 Listed building protection
279(4)
10.3.1 Introduction
279(1)
10.3.2 Fixtures and fittings
280(2)
10.3.3 Objects and buildings within the curtilage of a listed building
282(1)
10.4 Endangered species
283(6)
10.4.1 The CITES Convention
283(1)
10.4.2 The protected species
283(1)
10.4.3 CITES licences required
284(1)
10.4.4 Exceptions
285(1)
10.4.5 Enforcement
285(2)
10.4.6 Ivory and rhino horn
287(2)
10.5 Freedom of expression
289(7)
10.5.1 Introduction
289(1)
10.5.2 Obscenity and sex
290(4)
10.5.3 Art, religion and race
294(2)
10.6 Furniture and Furnishings Fire Safety Regulations
296(2)
11 Art and taxation
298(18)
11.1 Tax and art
298(3)
11.1.1 Capital gains tax
298(2)
11.1.2 Inheritance tax
300(1)
11.1.3 Estate duty and capital transfer tax
301(1)
11.1.4 Domestic VAT
301(1)
11.1.5 Import VAT
301(1)
11.2 Tax efficient arrangements
301(2)
11.2.1 Conditional exemption
301(1)
11.2.2 Sales to the nation
302(1)
11.2.3 Acceptance in lieu
302(1)
11.2.4 Cultural gifts scheme
302(1)
11.2.5 Lifetime gifts
302(1)
11.3 Conditional exemption
303(1)
11.4 Sales to the nation
304(2)
11.5 Lifetime gifts
306(1)
11.6 Acceptance in lieu
306(3)
11.6.1 Who may benefit from the scheme?
306(1)
11.6.2 The Acceptance in Lieu Panel
307(1)
11.6.3 Objects which may be considered
307(1)
11.6.4 Value and condition
308(1)
11.6.5 Acceptance in Lieu Panel decision
308(1)
11.6.6 Advantages for the owner
308(1)
11.7 Cultural gifts scheme
309(2)
11.7.1 Who may benefit from the scheme?
309(1)
11.7.2 The Acceptance in Lieu Panel
309(1)
11.7.3 Objects which may be considered
310(1)
11.7.4 Value and condition
310(1)
11.7.5 Acceptance in Lieu Panel decision
310(1)
11.7.6 Tax reduction
310(1)
11.7.7 Limits on the scheme
311(1)
11.7.8 Rules for the institution to which the object is given
311(1)
11.8 Resident non-domiciliaries
311(1)
11.9 Domestic VAT
312(3)
11.9.1 Normal VAT rules
313(1)
11.9.2 Second-hand goods margin scheme
313(1)
11.9.3 Auctioneer's margin scheme
313(2)
11.10 Import VAT
315(1)
12 Shipping, export and insurance of art
316(13)
12.1 Export of cultural property
316(7)
12.1.1 No export licence required
317(1)
12.1.2 Individual export licence required
318(1)
12.1.3 Referral to the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest
318(3)
12.1.4 Temporary admission import scheme
321(1)
12.1.5 ATA carnet scheme
322(1)
12.1.6 Bonded warehousing
322(1)
12.1.7 UK import VAT and duties
323(1)
12.2 Import of artworks into the European Union
323(2)
12.2.1 Import VAT for imports into the European Union
323(1)
12.2.2 EU cultural property import licences
324(1)
12.3 Insurance of art
325(4)
12.3.1 Loss and damage
325(1)
12.3.2 Inherent vice
326(1)
12.3.3 Terrorism cover
326(1)
12.3.4 War and confiscation
327(1)
12.3.5 Moth, vermin and woodworm damage
327(1)
12.3.6 Wear and tear
327(1)
12.3.7 Atmospheric change
327(1)
12.3.8 Insufficiency in packing
327(1)
12.3.9 Title insurance
328(1)
13 Museums
329(16)
13.1 Introduction
329(1)
13.2 Museum accreditation and ethics
329(3)
13.2.1 Due diligence
330(1)
13.2.2 Disposal and deaccessioning
330(1)
13.2.3 Conflicts of interest and commercial relationships
331(1)
13.3 Purchases and acquisitions by museums
332(3)
13.3.1 Outright purchase by the museum from museum funds
333(1)
13.3.2 Donation
333(1)
13.3.3 Acquisition with assistance from the Art Fund, government and National Lottery Fund grants
334(1)
13.3.4 Long-and short-term loans
334(1)
13.4 Loans to and by museums
335(6)
13.4.1 Loan agreement
335(1)
13.4.2 Structure and negotiation of the loan agreement
336(3)
13.4.3 Government indemnity scheme
339(2)
13.5 Deaccessioning and disposal of artworks by museums
341(4)
13.5.1 Museums Association deaccessioning guidelines
342(1)
13.5.2 Legislative provisions on deaccessioning
343(2)
14 Art funds
345(4)
14.1 Introduction
345(2)
14.2 Choosing an art fund
347(1)
14.2.1 The art fund manager
347(1)
14.2.2 Asset acquisition due diligence
347(1)
14.2.3 Market sector
347(1)
14.2.4 Liquidity
347(1)
14.2.5 Return objective
348(1)
14.2.6 Fee structure
348(1)
14.2.7 Ticket size
348(1)
14.3 Investors and risk appetite
348(1)
14.4 Valuation and audit
348(1)
15 Art disputes
349(33)
15.1 Disputes and court proceedings
349(6)
15.1.1 Introduction
349(1)
15.1.2 Making a claim
349(1)
15.1.3 Legal costs
350(1)
15.1.4 Alternative dispute resolution
351(1)
15.1.5 Legal proceedings
352(1)
15.1.6 Injunctions
353(2)
15.2 Sale location, applicable law and court jurisdiction
355(5)
15.2.1 Applicable law
356(2)
15.2.2 Court jurisdiction
358(2)
15.3 Title disputes
360(4)
15.3.1 Commercial considerations for sellers
361(1)
15.3.2 Burden of proof of ownership
361(1)
15.3.3 Consequences of a claim where artwork is in the agent's hands
362(1)
15.3.4 The commercial consequences of a claim
363(1)
15.3.5 Timing of the claim
363(1)
15.3.6 Slander of goods and title
363(1)
15.3.7 Settlement options
364(1)
15.4 Authenticity disputes
364(5)
15.4.1 Forgery and misattribution
365(1)
15.4.2 Claims by buyers of inauthentic or misattributed artworks
365(2)
15.4.3 Claims by sellers of underattributed artworks
367(2)
15.5 Condition disputes
369(1)
15.6 Saleroom disputes
370(3)
15.6.1 Missed bids
371(1)
15.6.2 Nonbidders
372(1)
15.6.3 Bidding sequences
373(1)
15.6.4 Refusal to accept bids
373(1)
15.7 Payment disputes
373(5)
15.7.1 Passing of title on payment in full
374(1)
15.7.2 Retaining possession of the artwork
374(1)
15.7.3 Securing a deposit or part payment
374(1)
15.7.4 Interest
375(1)
15.7.5 Legal proceedings
376(2)
15.7.6 Publicity
378(1)
15.8 Alternative dispute resolution
378(4)
15.8.1 Mediation
379(1)
15.8.2 Early neutral evaluation (ENE)
379(1)
15.8.3 Expert determination
379(1)
15.8.4 Arbitration
379(3)
16 Anti-money laundering and sanctions compliance
382(34)
16.1 Anti-money laundering legislation in the United Kingdom
382(3)
16.1.1 Proceeds of Crime Act 2002
383(1)
16.1.2 The Money Laundering Regulations 2007
384(1)
16.1.3 Money Laundering, Terrorist Financing and Transfer of Funds (Information on the Payer) Regulations 2017
384(1)
16.2 Practical challenges of the new regulatory framework
385(1)
16.2.1 The tension between confidentiality and transparency
385(1)
16.2.2 The complexity of multiple agency
386(1)
16.2.3 Industry-wide guidelines
386(1)
16.3 Application of the 2017 Regulations
386(5)
16.3.1 Art market participants
386(2)
16.3.2 Carrying on business in the United Kingdom
388(1)
16.3.3 Works of art
389(1)
16.3.4 The 10,000-euro limit
390(1)
16.4 Obligations of art market participants under the 2017 Regulations
391(3)
16.4.1 Registration requirement
391(1)
16.4.2 Annual risk assessment requirement
392(1)
16.4.3 Requirement to appoint a nominated officer
392(1)
16.4.4 Requirement for an anti-money laundering policy and procedure
392(1)
16.4.5 Requirement for training
393(1)
16.4.6 Requirement for customer due diligence
393(1)
16.5 Customer due diligence requirements under the 2017 Regulations
394(17)
16.5.1 Identifying the AMP's customer for due diligence purposes
394(6)
16.5.2 Relying on others to do due diligence
400(2)
16.5.3 When should customer ID and verification checks information be obtained?
402(1)
16.5.4 What constitutes customer due diligence under the 2017 Regulations?
402(5)
16.5.5 Evaluating and reacting to due diligence results
407(4)
16.6 Suspicious activity reporting obligations
411(1)
16.7 Sanctions compliance
412(2)
16.7.1 Introduction
412(1)
16.7.2 Sanctions in place in the United Kingdom
412(1)
16.7.3 Trade sanctions
413(1)
16.7.4 Penalties for breaching sanctions
413(1)
16.8 Facilitation of tax evasion
414(2)
17 The Bribery Act
416(5)
17.1 Introduction
416(1)
17.2 Active and passive bribery
416(1)
17.3 Improper performance
417(1)
17.4 Bribery of a foreign public official
418(1)
17.5 Transparency and disclosure
418(1)
17.6 Corporate failure to prevent bribery
419(1)
17.7 Penalties
419(1)
17.8 Practical guidance
420(1)
18 Confidentiality and data protection
421(9)
18.1 Confidentiality
421(3)
18.2 Data protection
424(6)
18.2.1 European General Data Protection Regulation
424(1)
18.2.2 The five GDPR principles for handling personal data
424(1)
18.2.3 Lawful, fair and transparent collection and processing of data
425(1)
18.2.4 Use of personal data
426(1)
18.2.5 Accuracy of personal data
426(1)
18.2.6 Protection of personal data
427(1)
18.2.7 Data breach reporting obligations
427(1)
18.2.8 Data subject right to information
428(2)
Index 430
Martin Wilson, Chief General Counsel and Head of Fiduciary Services, Phillips Auctioneers, previously Co-Head Legal and Compliance, Christie's Auctioneers