{"id":3681,"date":"2026-07-25T16:19:44","date_gmt":"2026-07-25T14:19:44","guid":{"rendered":"https:\/\/fournol-associes.com\/non-classe\/estates-artistes-definition-missions\/"},"modified":"2026-09-06T19:12:26","modified_gmt":"2026-09-06T17:12:26","slug":"estates-artistes-definition-missions","status":"publish","type":"post","link":"https:\/\/fournol-associes.com\/en\/artists-and-artist-estates\/estates-artistes-definition-missions\/","title":{"rendered":"Artists’ Estates"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” row_position_desktop=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” flex_gap_desktop=”10px” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

What Is an Artist’s Estate?<\/strong><\/h2>\n

Although the term has become entrenched within a globalised art market, the notion of an artistic estate remains blurred and appears to cover different practices and different actors. Structuring an estate lies at the heart of supporting artists’ successions, whether organised as a foundation, an endowment fund, an association, or an organised undivided co-ownership.<\/p>\n

The Artistic Estate: A Notion Diverted From Its Legal Meaning<\/strong><\/h2>\n

Now used unanimously across the art world, the term “estate”, when attached to an artist’s succession, has been diverted from its original meaning. Corresponding to a specific Anglo-American legal concept, the estate refers to the period of latency between the moment of death and the closing of the deceased’s succession. In its legal sense, “estate” corresponds to the entirety of the succession’s assets and liabilities, with no intended durability. The deceased’s property is gathered into a temporary institution headed by one or more administrators (executors), tasked with taking an inventory of the property, paying inheritance tax, and determining how the succession is to be wound up. At the end of this period, the succession may be dispersed, brought together within a foundation, bequeathed to an institution, or divided among the heirs. More rarely, the estate can be judicially reopened even where the artist has been deceased for some time, with a provisional administrator appointed to manage the succession’s assets and rights pending the determination of the artist’s heirs. Two recent examples can be cited here: that of Vivian Maier, whose succession is now under judicial administration pending the determination of the photographer’s heirs, and that of Henry Darger, whose estate has just been judicially reopened to allow it to act on behalf of all potential heirs and successors in defending the succession’s assets.<\/p>\n

While anticipatory mechanisms exist, such as “estate planning”, the time needed to resolve a succession can be particularly long. The succession of Donald Judd (1928-1994), for instance, took four years to clarify the inheritance questions and to allow the property to be transferred to the Foundation established according to the American artist’s wishes. The Donald Judd Foundation is therefore not an estate in the sense of American law. Yet art market players systematically use the term “estate” beyond its original meaning. The artistic estate has become autonomous from the legal notion of estate, coming instead to designate an artist’s succession. Thus, the Estate of Jean-Michel Basquiat (1960-1988), whose committee no longer issues certificates of authenticity, continues to manage the artist’s copyright, while the Estate of Sol LeWitt (1928-2007) systematically takes part in presenting works that require a physical re-creation step, as with his Wall Drawings. In France, the notion of estate would correspond more closely to that of succession, combined with an idea of structuring, built around an association, a foundation, an endowment fund, or an organised undivided co-ownership governed by an agreement. That said, the term “estate” still seems more confined to the art market, through its promotional actors, and has not always yet reached the credit lines attached to reproductions of a deceased artist’s works. A shift nonetheless appears to be emerging, with reproduction credits increasingly adopting the conventions of the international market.<\/p>\n

Galleries, the Traditional Representatives of Artistic Estates<\/strong><\/h2>\n

While the Hauser & Wirth gallery represented only living artists until 2000, when it took on the estate of the American artist Eva Hesse (1936-1970), some thirty estates are now part of its roster of represented artists, with estates even forming a distinct section among the artists the gallery represents. The example of Hauser & Wirth might seem atypical; it is anything but. It now appears that, in the game of global competition within the art market, every gallery must represent at least one artist’s succession, whatever its position in the market. The Christophe Gaillard gallery thus represents the estate of Michel Journiac (1935-1995), as well as that of Daniel Pommereulle (1937-2003), each presented under the Anglo-American designation. The gallery even represents part of the collection, not of an artist, but of a well-known deceased gallerist, Daniel Cordier, having acquired the works that had not been given to museum institutions or sold through the various sales held by Sotheby’s Paris. Artists historically linked to the programme of the Georges-Philippe et Nathalie Vallois gallery, Niki de Saint Phalle (1930-2002), through the Niki Charitable Art Foundation, and Jean Tinguely (1925-1991), are also among the artists represented by the rue de Seine gallery. Among the major French galleries, Kamel Mennour distinguishes, within its list of represented artists, between the living and the estates (Giacometti, Pierre Molinier and Gina Pane), while the Perrotin gallery draws no such distinction (Hans Hartung and Jes\u00fas Rafael Soto, for example), folding successions into its programme in the same way as any contemporary artist.<\/p>\n

A Varied Relationship With Galleries<\/strong><\/h2>\n

These differences in presentation reflect varied forms of representation. Sometimes simply mandated to sell works, on often lower commissions, whether exclusively or not, galleries may also deploy a range of services for the benefit of the work. From the essential task of archiving to compiling a catalogue raisonn\u00e9, from investing in production costs for posthumous works to purchasing or supporting the artist’s standing on the secondary market, a gallery’s level of involvement varies. The timeframe involved is, above all, entirely different from promoting a living artist, as organising an exhibition often requires long, sustained work to bring together essential pieces. Nor are all such works for sale, as illustrated by the 2016 re-creation, by the Almine Rech gallery, of Tom Wesselmann’s 1970 exhibition at the Sidney Janis Gallery, with the gallery representing the estate alongside its American counterpart Gagosian, after a period of uncertainty following the closure of the artist’s historic gallery. Beyond the appeal of a price range that is often higher for historical artists, working on a closed body of work, combined with knowledge of where pieces are held by collectors, allows for stronger control over the market. As for the succession’s ownership of historical, previously unseen or museum-quality pieces, this is essential for gallerists.<\/p>\n

New Types of Representatives<\/strong><\/h2>\n

In 1916, through three donations, Auguste Rodin handed over to the French State the entirety of his property \u2014 sculptures, drawings, a collection of antiquities, archives, photographs, and his Meudon villa-studio \u2014 along with his copyright. Atypical at the time, this kind of arrangement is now becoming more common. In France, the Mus\u00e9e Nic\u00e9phore Ni\u00e9pce showcases numerous photographic archive collections donated to it, together with the copyright, management of which has also been entrusted to it. Such a trend appears more developed in the United States. In Germany, Die Photographische Sammlung\/SK Stiftung Kultur der Sparkasse K\u00f6lnBonn has managed the rights attached to the works of August Sander (1876-1964) since 1992, having acquired them from the German photographer’s grandson along with a substantial number of vintage prints. Beyond museums, companies specialising in the management of artistic estates have emerged, with new entrants appearing in this space in recent years, including, to varying degrees of openness, auction houses. As early as 2013, Christie’s represented the estate of the Japanese-American artist Ruth Asawa (1926-2013), devoting solo exhibitions to her in its New York and Tokyo spaces. Following its acquisition of Art Agency Partners and the recruitment of the former executive director of the Rauschenberg Foundation, Christy MacLear, Sotheby’s has taken a more structured approach to representing estates. As for the German house Van Ham Art Estate (Cologne), it has represented artists’ successions since 2013, offering appraisal, storage, promotion and marketing services.<\/p>\n

The Content of the Estate: A New Defining Factor<\/strong><\/h2>\n

The estate thus appears to refer to the whole set of elements attached to the artist’s work, including archives, correspondence, and economic rights. The notion used by the market is therefore narrower than the legal notion. Following the announcement by Julian Sander, gallerist and the photographer’s great-grandson, that Hauser & Wirth would represent the estate, SK Stiftung Kultur reacted sharply this past February, stating that it was the sole holder of the August Sander estate, on the basis of its ownership of the archives and the economic rights. Yet the heir was only claiming to represent “the Family Estate of August Sander”, with the collaboration with the American gallery concerning only the works still owned by the family. Unprecedented, this public stance called into question the content of the artistic estate and appears to set copyright ownership as a fundamental condition. In this respect, the convergence between Anglo-American and civil-law artistic successions, as in France or Germany, is only reinforced.<\/p>\n

The Estate’s Missions<\/strong><\/h2>\n

Promoting a work through the estate, particularly where the estate aims to operate over the very long term, also requires many questions to be considered upfront. These concern the conservation and restoration of the works, questions relating to their deposit (archiving and authentication), and, very often, the compilation of the artist’s catalogue raisonn\u00e9. This is certainly one of the estate’s main tasks, whether or not it involves the artist’s heirs: the authentication of works. Beyond the debates over the legitimacy of any given entity to issue inclusion opinions or certificates of authenticity, the liability at stake can be very significant for all those taking part in this authentication process. While the French legal framework proves particularly favourable to the authors of catalogues raisonn\u00e9s and those issuing certificates of authenticity, the same is certainly not true in the United States, where a great many committees or foundations have stopped providing such a service in the face of the financial burden of lawsuits brought against them.<\/p>\n

Finally, the last essential task that consistently appears to fall to an estate lies in putting in place the conditions needed to secure a lasting, visible place for the work on the artistic scene, which in turn calls for exhibitions in museums and institutions, both in France and abroad. The recruitment by galleries of former curators or members of leading institutions unmistakably shows that galleries are now increasingly responding to this legitimate demand from successions, which no longer hesitate to put art market professionals in competition with one another for the right to represent the estate.<\/p>\n

By Alexis Fournol<\/a>, Attorney at the Paris Bar, Partner of the Firm.<\/em><\/p>\n

Our practice<\/strong><\/h3>\n

As part of its practice in inheritance and estate law, Fournol & Associ\u00e9s works in particular in copyright law. The Firm advises French and foreign artists’ estates and successions on structuring their activity, the authentication process, and defending the work on the market and before the courts.<\/p>\n

Related publication:<\/h3>\n

How to Organise an Artist’s Estate?<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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