Leila Amineddoleh
Attorney / Legal & Business Consultant / Pianist
New York, NY
Princeton, NJ
Philadelphia, PA
Q What do you do?
“I am an art, heritage, and intellectual property attorney handling litigation and transactional matters.”
My work runs the gamut from representing internationally known artists to emerging creatives (including visual artists, musicians, actors, screenwriters, magicians, dancers, jewelers, models, and designers), luxury brands, publishing companies, artists’ studios, and foundations. In addition, I represent other art market participants, including auction houses, museums, dealers, art experts, and art advisors. As a litigator, I’ve worked to recover stolen property. One of my favorite cases involved an artwork that went missing for 3 decades and that some experts believe was painted by Duccio (the early Italian Renaissance Master). I’ve also received recognition for successfully representing foreign governments, including the Greek Ministry of Culture and the Republic of Italy. I’ve also been recognized as an expert on art authentication, assisting clients with the often challenging process of authenticating art or disputing a false attribution. It has been a privilege to serve as an expert in court for both IP and art law matters. Some of my work as a legal expert involved high-profile disputes and criminal matters. These cases led to the repatriation of works from countries including Lebanon, Italy, Iran, Libya, and Egypt, as well as high-profile matters involving the precedent-setting seizure of antiquities from Michael Steinhardt. In addition, I gained notoriety as an art law consultant on the Hobby Lobby forfeiture.
Q What steps did you take to get to where you are now?
I’ve been an attorney for over fifteen years, and before that, I worked in the arts. I am a classically trained pianist, and I attended law school with the intention of working in the arts. (In fact, I worked as a musician while earning undergraduate and graduate degrees.) I began my career in 2006 as a litigator in NYC’s leading intellectual property law boutique (Fitzpatrick Cella, now part of Venable). After 3 years of working on high-stakes litigations and advising on IP issues and portfolio management, I established an art law group at a boutique law firm in 2009. Then in 2014, I founded my own firm to focus exclusively on art, cultural heritage, and IP law. Since then, Amineddoleh & Associates LLC has grown and is a recognized leader in art and IP law.
Q How do you stand out in your field?
I’ve worked at top-ranking law firms for nearly 16 years, which has helped me develop my skill set as a fierce advocate and transactional attorney. Over the years, I’ve handled a wide variety of matters, allowing me to understand the nuances and issues that a less experienced attorney may not recognize. This experience, coupled with my commitment to the arts and artists, makes me a superior advocate for my clients. The quality of my work has been lauded in the arts community. I have been featured in major news publications, including the NY Times, National Public Radio, Wall Street Journal, Time Magazine, The Associated Press Reuters, Artnet, Artsy, and The Art Newspaper. As someone passionate about the arts, I’ve spoken at museums around the world, including the Victoria & Albert Museum, the Frick Collection, Philadelphia Museum of Art, Neue Galerie. I’ve also been asked to speak at some of the most prestigious universities in the country: Harvard Business School, NYU, and Yale. I speak at conferences throughout the year, and I am honored to have been selected and to serve as the Chair of the 13th Annual Art Law Institute for the New York County Lawyers Association. And as a recognized leader in my field, I teach “International Art Law” at Fordham University School of Law and “Art Crime & the Law” at New York University. In addition, I serve as a lecturer for Christie’s Education.
Q What are you working on right now?
One of the most exciting matters I’m currently handling involves a “sleeper” work that a client discovered in the most unexpected of places. In addition, my firm is litigating a copyright infringement claim against a large nationwide corporation. Additionally, I’m working on a number of intellectual property matters for musicians and record labels; establishing a foundation for an artist’s studio; working with foreign authorities to return a Nazi-era looted artifact to its home; pursuing the recovery of a collection of valuable musical instruments; negotiating the return of antiquities to a foreign nation; writing consignment agreements; drafting an agreement for an artist commissioned to create a site-specific work for a federally-funded project; reviewing a number of production agreements for filmmakers, producers, and on-air talent; and advising clients on NFT transactions.
Q What’s your style?
My approach is expansive, meaning that it is important to see the bigger picture while also recognizing the subtleties and complexities that are unique to each matter. During my years of practice, I’ve developed a broad practice built upon experience and exposure to a variety of areas. This experience allows me to identify issues, provide comprehensive advice, and even know whom to contact when I cannot adequately address certain questions or have a conflict of interest with a potential client. Although I litigate and fight zealously for clients, I also understand that litigation is not the sole means for dispute resolution. In fact, litigation can be costly, unpredictable, stressful, and emotionally draining. As such, I often encourage clients to consider alternate ways to resolve disputes.
Q Out of all your slashies, which one do you wish you could do more often?
I wish I had more time to play music with other musicians—it is difficult to find the time to practice and play with others.
Q What is frustrating you right now?
The lack of support for artists is problematic. There are so many barriers preventing creatives from seeking legal help, including the fear that working with a lawyer is unpleasant. To this end, I often present lectures for non-profit organizations and arts groups stressing why it is essential for artists to properly protecting their works. Lawyers should be engaged to promote and help artists. I wish all artists acted proactively to protect their works and trust in their lawyers.
Q If you could hire someone for $20/hour, what would you have them do to make your day easier?
I have an amazing office manager, but I would love to hire a personal assistant to oversee my calendar, maintain my desk and filing cabinets, and schedule all my Zoom meetings.
Q What do you wish you could have told yourself, when, and why?
I wish that I had told myself to trust my instincts, particularly as it relates to collaborative efforts. I’ve worked with people who misrepresented their experience or credentials. Whether dealing with a potential employee, business partner, or collaborator, ask for specifics. If an attorney makes vague references about clients and work experience, ask for proof of their work. (In the legal world, “fake it ‘till you make it” is not appropriate, and it may lead to malpractice or other problems.) It may be helpful to ask a potential legal representative for a writing sample. If an artist posts a misleading photo on social media, inquire about that image. And if a potential business partner refuses to memorialize information in writing, then dig deeper or call off the deal. Watch out for red flags.
Q If you could talk to an expert to gain more insight on something, what would it be about?
I’d love to learn more about the illicit trade in wildlife—the trade has parallels to the criminal art market, but the channels are different.
Q What kind of opportunities/projects are you looking for?
My law firm is currently accepting new clients who are working in all areas of the art market, including artists, collectors, dealers, art experts, and investors. We represent clients in litigations, transactional matters, business planning, and portfolio and business development.
Q Describe your ideal job/client/collaboration.
My ideal client is receptive to ideas, someone who communicates clearly and effectively, and someone who responds in a timely manner. I’ve been fortunate to work with so many wonderful clients.
A client I’ve worked with since the inception of my firm is the studio of a well-known international artist. As its general counsel, I am responsible for providing art law and IP law advice for the artist’s work and collaborations with fashion and luxury brands, preparing business documents, advising on all legal decisions, and working with outside counsel to address conflicts we cannot handle in-house. We are currently working on establishing a foundation for the artist—it is a project that will support his legacy while also benefiting the public. There are few things as gratifying as supporting a client in a project that is ultimately geared toward the public good.
Q: What is your rate?
My law firm’s rate and fee structure vary depending on the client or project, and we are amenable to creative payment plans. If we are unable to help a potential client, we are always happy to refer a client to another attorney who is better suited for the project. (The unfortunate truth is that there are sometimes conflicts that prevent us from representing every potential client who calls us.)
Q How should someone approach you about working together?
The easiest way to reach me is by email
Q Oh! and… how do you stay creative?
I perform the piano (although public performances have been on hiatus due to COVID), read and write extensively (publishing academic and creative works), cook, write poetry, and visit museums.
This member profile was originally published in February 2022.