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E-raamat: Art Law and the Business of Art

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  • Ilmumisaeg: 11-Nov-2019
  • Kirjastus: Edward Elgar Publishing Ltd
  • Keel: eng
  • ISBN-13: 9781788979887
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  • Formaat: EPUB+DRM
  • Sari: Elgar Practical Guides
  • Ilmumisaeg: 11-Nov-2019
  • Kirjastus: Edward Elgar Publishing Ltd
  • Keel: eng
  • ISBN-13: 9781788979887

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Over the past two decades, the need for legal expertise in the art business has grown exponentially. In this book, 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.

Written in a style that is accessible and informative for lawyers and non-lawyers alike, Art Law and the Business of Art 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 such as in auction houses, by museums, and private sales both with and without agents. Other issues such as artists' rights in their work, import and export of artworks, taxation, art disputes, anti-money laundering and sanctions compliance, bribery, 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, ancient art and cultural heritage, and freedom of expression.  

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.

Arvustused

Art Law and the Business of Art provides an invaluable guide. The book is at once a primer on the art market for lawyers acting or advising on matters of art law, and a primer on the law, for art market participants seeking to understand their legal position. -- Aaron Taylor, Cambridge Law Journal Art Law and the Business of Art is a welcome contribution that will be useful, informative and enjoyable for anyone even remotely interested in art law and cultural property/cultural heritage and/or the related transactional aspects. -- Louise Buckingham, Intellectual Property Forum Wilson has succeeded in bringing together and explaining very eloquently a host of complicated legal, ethical and practical issues in the art world in this much-needed handbook. Impressively, it succeeds in tone and pitch despite its large scope: it is intended for a wide audience, from auction houses to collectors, institutions and dealers. Every chapter has been thoroughly researched and is presented lucidly with the benefit of experience. -- Noor Kadhim, Art Antiquity and Law The book genuinely does what it says on the packet - a practical, informative guide to an area where a surprisingly wide range of laws apply. The author is to be commended for putting his encyclopaedic knowledge of art law and the art market down on paper for the benefit of the UK art market and those lawyers advising it. Certainly this useful book deserves a wide readership. Any lawyer advising clients on art law should have a copy both as a practical vade mecum and also as a resource to understand some of the business practices that clients dont necessarily explain or highlight. Commercial people too will find it a very helpful summary of the law in a practical context. -- Simon Stokes, Entertainment Law Review Wilsons Art Law and the Business of Art extensively unpacks the legal framework of the art business. It is written simply and clearly, and includes compelling case illustrations. Perhaps the most beneficial aspect of this book is the authors neat rationale for various outcomes. -- Angela Dimery, The Center of Art Law '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 author's 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 don'ts 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 Christie's 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 today's art market.' --Anthony Browne, British Art Market Federation

Preface xvii
Notes xx
Glossary of art terms xxi
Table of cases xxviii
Table of legislation xxxi
1 The artist and the artwork 1(40)
1.1 Copyright
1(19)
1.1.1 What types of artwork are protected by copyright?
3(5)
1.1.2 The requirement of originality
8(3)
1.1.3 Duration of protection
11(1)
1.1.4 Ownership of copyright
12(1)
1.1.5 Copyright infringement
13(2)
1.1.6 Substantial part
15(1)
1.1.7 Inexact copies and imitation
15(1)
1.1.8 Fair dealing
15(2)
1.1.9 The internet
17(3)
1.2 Moral rights
20(8)
1.2.1 Introduction
20(1)
1.2.2 Moral rights
21(5)
1.2.3 Application of moral rights
26(2)
1.3 Artist's resale right
28(6)
1.3.1 Introduction
28(1)
1.3.2 Artist's resale royalty in the United Kingdom
28(6)
1.4 Royalties and enforcement
34(4)
1.4.1 Introduction
34(1)
1.4.2 Royalties
34(1)
1.4.3 Enforcement
35(3)
1.5 Graffiti art
38(3)
2 Auction sales: introduction 41(24)
2.1 The popularity and psychology of the auction
41(5)
2.2 The auction process
46(19)
2.2.1 The decision to sell
46(1)
2.2.2 Consignment of the property and the choice of auction house
47(2)
2.2.3 The seller's commission and costs
49(1)
2.2.4 The sale calendar
49(1)
2.2.5 Cataloguing
50(1)
2.2.6 Provenance
51(3)
2.2.7 Estimates
54(1)
2.2.8 Condition reports
55(1)
2.2.9 Catalogue and marketing
56(1)
2.2.10 The reserve price
56(2)
2.2.11 Viewing
58(1)
2.2.12 Saleroom announcements
58(1)
2.2.13 Buyer registration
59(1)
2.2.14 Bidding
59(3)
2.2.15 The hammer
62(1)
2.2.16 Charges to the buyer
63(1)
2.2.17 Payment and proceeds of sale
63(1)
2.2.18 Collection
64(1)
3 Auctions: the auction house 65(54)
3.1 The auction house and the seller
65(29)
3.1.1 Fiduciary duties
66(5)
3.1.2 Duty to care for the principal's property
71(2)
3.1.3 Duty to act with skill and care
73(5)
3.1.4 Auctioneer's obligations to the seller imposed by consumer law
78(3)
3.1.5 Auctioneer's contractual rights and obligations in relation to the seller under the agency agreement
81(13)
3.2 The auction house and the buyer
94(25)
3.2.1 The auctioneer's liability to the buyer
95(6)
3.2.2 The rights and obligations of the buyer
101(11)
3.2.3 Exclusions and limits on liability
112(7)
4 Auctions: financial arrangements 119(13)
4.1 Advances, loans and credit arrangements
119(5)
4.1.1 Interest
120(1)
4.1.2 Security
120(3)
4.1.3 Consumer Credit Regulations
123(1)
4.2 Guarantees and risk sharing arrangements
124(8)
4.2.1 Guarantees
124(3)
4.2.2 Risk sharing arrangements
127(5)
5 Ownership and authenticity 132(25)
5.1 Title and ownership
132(10)
5.1.1 Title to stolen property
133(2)
5.1.2 Conversion
135(3)
5.1.3 Ownership of abandoned or lost property
138(2)
5.1.4 Limitation periods
140(2)
5.2 Authenticity and attribution
142(15)
5.2.1 Underattribution - the sleeper
145(7)
5.2.2 Overattribution - misattributions and forgeries
152(4)
5.2.3 Blockchain
156(1)
6 Auctions: policing the saleroom 157(7)
6.1 Mock auctions
157(2)
6.2 Bidding agreements and auction rings
159(2)
6.3 Estimates and consumer pricing information
161(3)
7 Auctions: online auctions 164(8)
7.1 Forms of online auction
165(7)
7.1.1 Online bidding in physical auctions
166(1)
7.1.2 The eBay model
166(2)
7.1.3 The time limited online only auction
168(4)
8 Auctions: negotiating agency agreements 172(6)
8.1 Introduction
172(1)
8.2 Timing of the sale
173(1)
8.3 Marketing of the sale
173(1)
8.4 Seller's warranties
174(1)
8.5 Catalogue description
174(1)
8.6 Loss and damage to the artwork
175(1)
8.7 Aftersales
175(1)
8.8 Payment
176(1)
8.9 Withdrawal
176(1)
8.10 Cancellation of the sale
177(1)
9 Private sales of art 178(29)
9.1 Introduction
178(1)
9.2 Structure and negotiation of a private sale agreement between buyer and seller
179(4)
9.2.1 Parties
179(1)
9.2.2 Price
179(1)
9.2.3 Warranties
180(1)
9.2.4 Disclaimers of warranty
181(1)
9.2.5 Condition
181(1)
9.2.6 Passing of title
181(1)
9.2.7 Release of the artwork to the buyer
182(1)
9.2.8 Transfer of risk
182(1)
9.2.9 Authenticity
182(1)
9.2.10 Confidentiality
182(1)
9.2.11 Disputes
183(1)
9.3 Structure and negotiation of private sale agreements using agents
183(6)
9.3.1 Purpose of the appointment
183(1)
9.3.2 The artworks to be sold
183(1)
9.3.3 Exclusivity
184(1)
9.3.4 Term
184(1)
9.3.5 Price
185(1)
9.3.6 Agent's commission
185(1)
9.3.7 Sale charges
186(1)
9.3.8 Payment
186(1)
9.3.9 Warranties
186(2)
9.3.10 Physical possession
188(1)
9.3.11 Insurance
188(1)
9.3.12 Transfer of ownership and risk
188(1)
9.3.13 Confidentiality
188(1)
9.3.14 Disputes
188(1)
9.4 Implied terms in private sales
189(2)
9.4.1 Correspondence with description
189(1)
9.4.2 Satisfactory quality
189(1)
9.4.3 Title, quiet possession and freedom from charges
190(1)
9.5 Exclusions and limits on liability in private sales agreements
191(4)
9.5.1 Exclusions and limitation of liability in the conditions of sale
191(4)
9.6 Agent's liability to the buyer and seller
195(2)
9.7 Transparency, secret commissions and the problems arising from subagency
197(3)
9.8 The art dealer
200(7)
9.8.1 Introduction
200(1)
9.8.2 Stock sales
201(1)
9.8.3 Agency sales
202(1)
9.8.4 Sales on behalf of the artist
203(1)
9.8.5 Agreements between dealers and artists
203(4)
10 Ethics, public policy and art 207(71)
10.1 Holocaust restitution claims
207(20)
10.1.1 Holocaust confiscation and looting
207(1)
10.1.2 Postwar restitution efforts
208(1)
10.1.3 The 1998 Washington Conference
209(2)
10.1.4 Holocaust restitution claims in the United Kingdom
211(7)
10.1.5 The Spoliation Advisory Panel
218(6)
10.1.6 Holocaust (Return of Objects) Act 2009
224(1)
10.1.7 Immunity from seizure in the United Kingdom
224(2)
10.1.8 Holocaust looted art databases
226(1)
10.2 Cultural property and heritage
227(31)
10.2.1 International conventions on cultural property protection
232(5)
10.2.2 United Kingdom cultural property protection legislation
237(6)
10.2.3 Codes of conduct
243(6)
10.2.4 Civil remedies
249(3)
10.2.5 The future
252(4)
10.2.6 Guidance for the collector
256(2)
10.3 Listed building protection
258(4)
10.3.1 Introduction
258(1)
10.3.2 Fixtures and fittings
259(2)
10.3.3 Objects and buildings within the curtilage of a listed building
261(1)
10.4 Endangered species
262(6)
10.4.1 The CITES Convention
262(1)
10.4.2 The protected species
263(1)
10.4.3 CITES licences required
263(1)
10.4.4 Exceptions
264(1)
10.4.5 Enforcement
265(2)
10.4.6 Ivory and rhino horn
267(1)
10.5 Freedom of expression
268(8)
10.5.1 Introduction
268(1)
10.5.2 Obscenity and sex
269(5)
10.5.3 Art, religion and race
274(2)
10.6 Furniture and Furnishings Fire Safety Regulations
276(2)
11 Art and taxation 278(21)
11.1 Tax and art
278(4)
11.1.1 Capital gains tax
278(2)
11.1.2 Inheritance tax
280(1)
11.1.3 Estate duty and capital transfer tax
281(1)
11.1.4 Domestic VAT
281(1)
11.1.5 Import VAT
281(1)
11.2 Tax efficient arrangements
282(1)
11.2.1 Conditional exemption
282(1)
11.2.2 Sales to the nation
282(1)
11.2.3 Acceptance in lieu
283(1)
11.2.4 Cultural gifts scheme
283(1)
11.2.5 Lifetime gifts
283(1)
11.3 Conditional exemption from inheritance tax
283(2)
11.4 Sales to the nation
285(2)
11.5 Lifetime gifts
287(1)
11.6 Acceptance in lieu
287(3)
11.6.1 Who may benefit from the scheme?
288(1)
11.6.2 The Acceptance in Lieu Panel
288(1)
11.6.3 Objects which may be considered
288(1)
11.6.4 Value and condition
289(1)
11.6.5 Acceptance in Lieu Panel decision
289(1)
11.6.6 Advantages for the owner
289(1)
11.7 Cultural gifts scheme
290(4)
11.7.1 Who may benefit from the scheme?
291(1)
11.7.2 The Acceptance in Lieu Panel
291(1)
11.7.3 Objects which may be considered
292(1)
11.7.4 Value and condition
292(1)
11.7.5 Acceptance in Lieu Panel decision
292(1)
11.7.6 Tax reduction
293(1)
11.7.7 Limits on the scheme
293(1)
11.7.8 Rules for the institution to which the object is given
293(1)
11.8 Resident nondomiciliaries
294(1)
11.9 Domestic VAT
295(2)
11.9.1 Normal VAT rules
295(1)
11.9.2 Secondhand goods margin scheme
296(1)
11.9.3 Auctioneer's margin scheme
296(1)
11.10 Import VAT
297(1)
11.11 Brexit
298(1)
12 Shipping, export and insurance of art 299(14)
12.1 Export of cultural property
299(8)
12.1.1 No export licence required
300(1)
12.1.2 Individual export licence required
301(1)
12.1.3 Referral to the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest
301(4)
12.1.4 Temporary admission scheme
305(1)
12.1.5 ATA carnet scheme
305(1)
12.1.6 Bonded warehousing
306(1)
12.2 Import of cultural property into the European Union
307(1)
12.3 Insurance of art
308(5)
12.3.1 Loss and damage
309(1)
12.3.2 Inherent vice
310(1)
12.3.3 Terrorism cover
310(1)
12.3.4 War and confiscation
310(1)
12.3.5 Moth, vermin and woodworm damage
310(1)
12.3.6 Wear and tear
311(1)
12.3.7 Atmospheric change
311(1)
12.3.8 Insufficiency in packing
311(1)
12.3.9 Title insurance
311(2)
13 Museums 313(19)
13.1 Introduction
313(1)
13.2 Museum accreditation and ethics
313(4)
13.2.1 Due diligence
314(1)
13.2.2 Disposal and deaccessioning
315(1)
13.2.3 Conflicts of interest and commercial relationships
315(2)
13.3 Purchases and acquisitions by museums
317(2)
13.3.1 Outright purchase by the museum from museum funds
317(1)
13.3.2 Donation
317(1)
13.3.3 Acquisition with assistance from the Art Fund, government and National Lottery Fund grants
318(1)
13.3.4 Long- and short-term loans
319(1)
13.4 Loans to and by museums
319(8)
13.4.1 Loan agreement
319(2)
13.4.2 Structure and negotiation of the loan agreement
321(4)
13.4.3 Government indemnity scheme
325(2)
13.5 Deaccessioning and disposal of artworks by museums
327(5)
13.5.1 Museums Association deaccessioning guidelines
327(2)
13.5.2 Legislative provisions on deaccessioning
329(3)
14 Art funds 332(5)
14.1 Introduction
332(2)
14.2 Choosing an art fund
334(1)
14.2.1 The art fund manager
334(1)
14.2.2 Asset acquisition due diligence
334(1)
14.2.3 Market sector
334(1)
14.2.4 Liquidity
335(1)
14.2.5 Return objective
335(1)
14.2.6 Fee structure
335(1)
14.2.7 Ticket size
335(1)
14.3 Investors and risk appetite
335(1)
14.4 Valuation and audit
336(1)
15 Art disputes 337(32)
15.1 Disputes and court proceedings
337(7)
15.1.1 Introduction
337(1)
15.1.2 Making a claim
337(1)
15.1.3 Legal costs
338(2)
15.1.4 Alternative dispute resolution
340(1)
15.1.5 Legal proceedings
340(1)
15.1.6 Injunctions
341(3)
15.2 Title disputes
344(4)
15.2.1 Commercial considerations for sellers
345(1)
15.2.2 Burden of proof of ownership
346(1)
15.2.3 Consequences of a claim where artwork is in agent's hands
346(1)
15.2.4 The commercial consequences of a claim
347(1)
15.2.5 Timing of the claim
347(1)
15.2.6 Slander of goods and title
348(1)
15.2.7 Settlement options
348(1)
15.3 Authenticity disputes
348(7)
15.3.1 Forgery and misattribution
349(1)
15.3.2 Claims by buyers of inauthentic or misattributed artworks
349(2)
15.3.3 Claims by sellers of underattributed artworks
351(4)
15.4 Condition disputes
355(1)
15.5 Saleroom disputes
356(3)
15.5.1 Missed bids
356(2)
15.5.2 Nonbidders
358(1)
15.5.3 Bidding sequences
359(1)
15.5.4 Refusal to accept bids
359(1)
15.6 Payment disputes
359(6)
15.6.1 Passing of title on payment in full
360(1)
15.6.2 Retaining possession of the artwork
360(1)
15.6.3 Securing a deposit or part payment
360(2)
15.6.4 Interest
362(1)
15.6.5 Legal proceedings
362(2)
15.6.6 Publicity
364(1)
15.7 Alternative dispute resolution
365(4)
15.7.1 Mediation
365(1)
15.7.2 Early neutral evaluation (ENE)
365(1)
15.7.3 Expert determination
366(1)
15.7.4 Arbitration
366(3)
16 Anti-money laundering and sanctions compliance 369(11)
16.1 Anti-money laundering
369(7)
16.1.1 Money Laundering Regulations 2007 and the regulated industries
369(2)
16.1.2 Proceeds of Crime Act 2002
371(1)
16.1.3 Typical 'know your client' and anti-money laundering procedures
372(4)
16.2 Sanctions compliance
376(2)
16.2.1 Introduction
376(1)
16.2.2 Sanctions in place in the United Kingdom
377(1)
16.2.3 Trade sanctions
378(1)
16.2.4 Penalties for breaching sanctions
378(1)
16.3 Facilitation of tax evasion
378(2)
17 The Bribery Act 380(6)
17.1 Introduction
380(1)
17.2 Active and passive bribery
380(1)
17.3 Improper performance
381(1)
17.4 Bribery of a foreign public official
382(1)
17.5 Transparency and disclosure
383(1)
17.6 Corporate failure to prevent bribery
384(1)
17.7 Penalties
384(1)
17.8 Practical guidance
384(2)
18 Confidentiality and data protection 386(9)
18.1 Confidentiality
386(3)
18.2 Data protection
389(6)
18.2.1 European General Data Protection Regulation
389(1)
18.2.2 The five GDPR principles for handling personal data
389(1)
18.2.3 Lawful, fair and transparent collection and processing of data
390(2)
18.2.4 Use of personal data
392(1)
18.2.5 Accuracy of personal data
392(1)
18.2.6 Protection of personal data
392(1)
18.2.7 Data breach reporting obligations
392(1)
18.2.8 Data subject right to information
393(2)
Index 395
Martin Wilson, Chief General Counsel and Head of Fiduciary Services, Phillips Auctioneers, previously Co-Head Legal and Compliance, Christie's Auctioneers