Showing posts with label pablo picasso. Show all posts
Showing posts with label pablo picasso. Show all posts

Monday, July 07, 2014

May Germany Launder Nazi Looted Art In New York? Federal Judge Concludes "Yes"


Pablo Picasso's Madame Soler 1905 - Stolen From Paul Bartholdy-Mendelssohn

In Schoeps v. Free State of Bavaria, 13 Civ. 2048 (SDNY June 27, 2014)
http://law.justia.com/cases/federal/district-courts/new-york/nysdce/1:2013cv02048/409721/54
  the Hon. Jed S. Rakoff dismissed a case by Jewish heirs seeking to recover Nazi looted art that had been spirited to New York, and then repurchased by Bavaria, where the stolen artwork now proudly hangs in a Munich museum.   The SDNY threw the case out pursuant to a motion to dismiss, which means that the plaintiff was deprived of his day in court and no factual record was created from which an appellate court could determine whether or not the plaintiff had proven that the work was stolen.

To understand why this decision is so repugnant to U.S. and New York policy, a bit of history is in order.  Adolph Hitler and a band of criminals took control of Germany in the spring of 1933 through violence and intimidation.  They abolished democracy and the rule of law and immediately set up a kleptocracy that targeted Jews and Jewish property.    Following World War II (a war  won by the U.S. and its allies), the U.S. participated in legal proceedings at Nuremberg.  Hitler and the Nazi regime were deemed a band of criminals.  The US and its Allies vowed in the London Declaration of 1943 to undo the Nazis property crimes against Jews.

From the beginning of the Nazi regime, New York law refused to recognize Nazi forced transfers and opened its courts to Jewish refugees, epitomize in the famous case of Holzer v. Reichbahn (1936) where Marcel Holzer, who had been thrown into a concentration camp and deprived his pension by Germany, was allowed to seize the furniture of the Nazi regime located at the German Consulate. 

The Second Circuit and Southern District Court took a while to figure out that courts in New York are to be completely dedicated to reversing Nazi depredations.  I am copying the landmark case below that eliminated all jurisdictional restraints on the courts of the Southern District of New York from declaring and returning property stolen from Jews:

United States Court of Appeals, Second Circuit.

BERNSTEIN
v.
N. V. NEDERLANDSCHE- AMERIKAANSCHE STOOMVAART- MAATSCHAPPIJ (Chemical Bank& Trust Co., Third-Party Defendant).

No. 21193.
Submitted Jan. 11, 1954.
Decided Feb. 5, 1954.

Action by owner of all the stock in German liability company against Dutch corporation which had converted such stock in participation in plan with Nazi officials, seeking to follow proceeds of the property in the hands of the transferee. On petition to amend a prior mandate handed down in a prior appeal, 173 F.2d 71, the Court of Appeals, held that where subsequent to mandate ordering plaintiff to refrain from alleging matters which would cause court to pass on validity of acts of officials of German government, Executive Policy of relieving American courts from any restraint upon exercise of their jurisdiction to pass upon validity of acts of Nazi officials was declared, mandate would be amended by striking out all restraints based on inability of court to pass on such acts.

Mandate amended.
Where subsequent to order of court directing plaintiff who claimed to have been deprived of his stock in a German corporation, to refrain from alleging matters which would cause court to pass on validity of acts of officials of the German government, Executive Policy was declared in State Department release, stating that it was government's policy to relieve American courts from restraint upon exercise of their jurisdiction to pass upon validity of acts of Nazi officials, mandate previously issued would be amended by striking out all restraints based on inability of court to pass on acts of officials in Germany during period in question.

*375 Bennet, House & Couts, New York City, for plaintiff-petitioner; Victor House, Albert I. Edelman and Werner Ilsen, New York City, of counsel.

Burlingham, Hupper & Kennedy, New York City, for defendant Holland-America Line; Harold M. Kennedy, and Harvey C. Allen, Jr., New York City, of counsel.

Sherman & Sterling & Wright, New York City, for Third-Party Defendant, Chemical Bank & Trust Company; John A. Wilson, M. VanVoorhies and Edmond K. Leach, New York City, of counsel.


Petition to amend the mandate of this court handed down in a prior appeal in this case, 173 F.2d 71. Petition granted.

Before AUGUSTUS N. HAND, CLARK and FRANK, Circuit Judges.

Petition to amend the mandate of this court handed down in a prior appeal in this case, 173 F.2d 71. Petition granted.

PER CURIAM.

In the prior appeal in this case, 173 F.2d 71, 75-76, because of the lack of a definitive expression of Executive Policy, we felt constrained to follow the decision of this court in Bernstein v. Van Heyghen Freres Societe Anonyme, 2 Cir., 163 F.2d 246, certiorari denied 332 U.S. 772, 68 S.Ct. 88, 92 L.Ed. 357, by ordering the plaintiff to refrain from alleging matters which would cause the court to pass on the validity of acts of officials of the German government. Following our decision, however, the State Department issued Press Release No. 296 on April 27, 1949, entitled: ‘Jurisdiction of United States Courts Re *376 Suits for Identifiable Property Involved in Nazi Forced Transfers.’ The substance of this Release follows:

‘As a matter of general interest, the Department publishes herewith a copy of a letter of April 13, 1949 from Jack B. Tate, Acting Legal Advisor, Department of State, to the Attorneys for the plaintiff in Civil Action No. 31-555 in the United States District Court for the Southern District of New York.

‘The letter repeats this Government's opposition to forcible acts of dispossession of a discriminatory and confiscatory nature practiced by the Germans on the countries or peoples subject to their controls; states that it is this Government's policy to undo the forced transfers and restitute identifiable property to the victims of Nazi persecution wrongfully deprived of such property; and sets forth that the policy of the Executive, with respect to claims asserted in the United States for restitution of such property, is to relieve American courts from any restraint upon the exercise of their jurisdiction to pass upon the validity of the acts of Nazi officials.’


The letter from Mr. Tate is then quoted, pertinent parts of which follow:


‘1. This Government has consistently opposed the forcible acts of dispossession of a discriminatory and confiscatory nature practiced by the Germans on the countries or people subject to their controls. * * *


‘3. The policy of the Executive, with respect to claims asserted in the United States for the restitution of identifiable property (or compensation in lieu thereof) lost through force, coercion, or duress as a result of Nazi persecution in German, is to relieve American courts from any restraint upon the exercise of their jurisdiction to pass upon the validity of the acts of Nazi officials.’


In view of this supervening expression of Executive Policy, we amend our mandate in this case by striking out all restraints based on the inability of the court to pass on acts of officials in Germany during the period in question. See 173 F.2d at pages 75-76. This will permit the district court to accept the Release in evidence and conduct the trial of this case without regard to the restraint we previously placed upon it.

C.A.2 1954.
Bernstein v. N. V. Nederlandsche-Amerikaansche, Etc.,
210 F.2d 375, 1954 A.M.C. 569

So it is clear that New York State and the Second Circuit have committed - decades ago to providing remedies to Jews despoiled by the Nazi regime and their familes. 

On Junuary 16, 2013 Secretary of State Hillary Rodham Clinton stated as follows:

U.S. DEPARTMENT OF STATE
Office of the Spokesperson
January 16, 2013
STATEMENT BY SECRETARY CLINTON
Holocaust-Era Looted Art
This month we commemorate the seventieth anniversary of the Inter-Allied Declaration against Acts of Dispossession Committed in Territories under Enemy Occupation and Control, known as the London Declaration of January 5, 1943. Beginning with the London Declaration, the United States implemented a policy of returning Nazi-confiscated art, including art taken through forced and coerced transfers, to its countries of origin, with the expectation that the art would be returned to its lawful owners. Under U.S. leadership, the international community has endorsed these principles as well.
In the 1998 Washington Principles on Nazi-Confiscated Art and the Terezin Declaration of the 2009 Prague Conference on Holocaust Assets, more than forty countries joined the United States in agreeing that their respective legal systems or alternative dispute resolution processes should facilitate just and fair solutions for art that was taken by the Nazis and their collaborators.
In reaffirming these commitments, the Department of State expresses no view on any issue currently in litigation. U.S. policy will continue to support the fair and just resolution of claims involving Nazi-confiscated art, in light of the provenance and rightful ownership of each particular work, while also respecting the bona fide internal restitution proceedings of foreign governments.

Read more: http://iipdigital.usembassy.gov/st/english/texttrans/2013/01/20130116141107.html#ixzz36W8Byf6C

But our federal courts seem to have forgotten the lessons of history and appear to treat one of history's greatest property crimes - and the postwar laundering of Jewish property by German museum - as some kind of ordinary series of commercial transactions rather than the criminal conspiracy which they were.

 In Schoeps v. Free State of Bavaria, 13 Civ. 2048 (SDNY June 27, 2014), the Southern District of New York forgot this history, this law and this commitment.   Schoeps alleged a forced transfer of Picasso's Madame Soler from Nazi victim Paul Bartoldy-Mendelssohn in 1934.  Shady art dealer Justin Thanhausser took Madame Soler and brought it to NY.   A top Bavarian museum official came to New York and eventually arranged to have the Bavarian museum acquire it through a transaction involving a Leichtenstein trust in a transaction that the SNDNY concluded was structured to evade US taxes.

So where we have a transaction involving laundering stolen art that occurred in New York, involving a painting located in New York, structured as a criminal transaction to evade New York and federal taxes, and to repatriate the spoils of Adolph Hitler's thuggery, and where the courts of Germany provide absolutely no right to relief, the plaintiff correctly brought the case in New York, right?

Not according to the decision in Schoeps v. Free State of Bavaria where the court construes the facts against the plaintiff (while arguing that it is doing the contrary) and coming to the conclusion that Bavaria is shielded in sovereign immunity.

This decision runs counter to  Cassirer v. Kingdom of Spain, 580 F.3d 1048, 1064 (9th Cir. 2009); Cassirer v. Kingdom of Spain, 616 F.3d 1019, 1037 (9th Cir. 2010) (en banc) which found that the Kingdom of Spain is not entitled to sovereign immunity for acquiring Nazi looted art and permitting a Jewish victim's case to proceed.

California federal courts are getting it right.  Let's hope that the Second Circuit reverses this terrible decision and orders the SDNY to let the case proceed.  It is about time that the courts shouldered the responsibility of carrying out the task entrusted to them and taking the criminal profits away from the Nazi wrongdoers and their successors-in-interest.

 www.dunnington.com
 Copyright law, fine art and navigating the courts. All practice, no theory.
Copyright Litigation Handbook (Thomson Reuters Westlaw 2012-2013) by Raymond J. Dowd Copyright Litigation Handbook on Westlaw

Thursday, March 07, 2013

Should Stolen Holocaust Art be Returned? Legal and Policy Perspectives and Recent Case Developments

Should Stolen Holocaust Art be Returned? Legal and Policy Perspectives and Recent Case Developments

Thursday, March 21, 2013 from 6:00 PM to 9:00 PM.
2nd floor auditorium

Join us for a very special program discussing the hot button issues of whether stolen Holocaust art should be returned. Learn about recent cases and understand the legal and policy perspectives, including a presentation by Ambassador Douglas Davidson, Special Envoy for Holocaust Issues, U.S. State Department.
AGENDA
  • Introduction and Overview of the Issues
  • A View from the U.S. State Department
  • From Abraham Lincoln's Code of War to the Morgenthau Seizure at MOMA: The American Victory in World War II, Recent Case Law and the Failure to Return Stolen Art to Holocaust Victms
  • Nazi Looted Art Commissions After 1998 Washington Conference: Comparing the European and American Experiences
  • Cassirer v. Kingdom of Spain:An Update

Faculty:
Program Chair and Faculty: Raymond Dowd, Dunnington, Bartholow & Miller LLP

Faculty: Hon. Stephen Crane (Ret.), JAMS; Ambassador Douglas Davidson, Special Envoy for Holocaust Issues; Victor Kovner, Davis,Wright Tremaine LLP; David Rowland, Esq.,  Rowland & Petroff LLP, Sharon Cohen-Levin, A.U.S.A., Southern District of New York


Member Price:  $125
Non-Member Attorney Price: $175


Click here to register online! Or click here to download registration form!


Click here for more information!



 www.dunnington.com
 Copyright law, fine art and navigating the courts. All practice, no theory.
Copyright Litigation Handbook (Thomson Reuters Westlaw 2012-2013) by Raymond J. Dowd  Copyright Litigation Handbook on Westlaw

Friday, July 09, 2010

Art Litigation: Nazi Liquidation of Picasso's Jewish Dealer By Nazis Makes News In Germany


The art press in the United States and art historians here have obliterated Alfred Flechtheim from the history of 20th Century Art.  In Germany, where Holocaust denial is illegal, museums are starting to confront the truth about the Nazi liquidation of Flechtheim's collection, and a critical press is scolding museums who are not doing the right thing.

New York's art press is asleep at the wheel.   My earlier posts on Flechtheim here.

Translation of the article “Er war sein bester Kunde” by Tobias Timm in Die Zeit - Nr.28 - July 8, 2010




He Was His Own Best Client

The legendary Flechtheim collection was liquidated by the Nazis. Now the heirs demand justice.


This case concerning unresolved Nazi-history is of such a dimension that it will probably occupy the biggest German museums for months, if not for years. It appears as if artworks that once belonged to the art dealer and publisher Alfred Flechtheim are hanging in dozens of institutions such as the Ludwig Museum in Cologne, the Bavarian State Collection of Paintings in Munich, the State-Gallery Stuttgart or the Berlin State Museums. Last week it became public that the heirs of Flechtheim are claiming back a portrait of the actress Tilla Durieux by Oskar Kokoschka from the Ludwig Museum. Further requests and restitution demands apparently concern major works by Max Beckmann, Paul Klee and Pablo Picasso.

Alfred Flechtheim was a central figure of the art market in the Weimar Republic. After Paul Cassirer, he is considered among the most important patrons of avant-garde art. Born in 1878 as the son of a successful wheat dealer, he started collecting art around 1900. In 1913 he opened his own gallery in Dusseldorf. After the First World War, in which Flechtheim served as a cavalry officer, he moved to Berlin. With dozens of exhibitions, he successfully represented the French cubists, in addition to George Grosz, Willi Baumeister, and Paul Klee. Flechtheim was also what is most despised among art dealers – he was his own best client.

Flechtheim was not only dealing and collecting, he also wrote art critiques, founded the magazine Querschnitt and enriched the Berlin society life with salons and soirees. “If I was a painter” the Boxer Max Schmeling writes in his homage to Flechtheim at is 50th birthday in 1928 “I want to be in Flechtheim’s stable”.

Already before the Nazis came to power the dealer was bombarded with hate articles by Nazi authors who recognized Flechtheim’s significance regarding the art that they denounced as degenerate. This led to Flechtheim fleeing already at the end of 1933, over Zurich and Paris to London where he died in 1937, probably due to blood poisoning.

Flechtheim’s gallery was immediately aryanized, and his private collection, which included works by Pablo Picasso, Juan Gris, Fernand Leger, Willi Baumeister and Vincent van Gogh was liquidated from 1933 on under the pressure of Nazi persecution. For the past two years, Flechtheim’s heirs, with the help of lawyers, have been searching for the paintings and sculptures from the former Flechtheim collection. The whereabouts of various paintings is unclear today, but a good hundred of them, estimates the Marburg lawyer Stötzel, ended up in museums in America and Germany. Many of the artworks will have to be restituted by public museums in accordance with the Washington principles regarding transaction involving Nazi looted art.


The Durieux portrait by Kokoschka, for example, belonged to Flechtheim’s private collection and was sold to the collector Josef Haubrich in 1934 by the “aryanizer” of his Dusseldorf gallery, Alex Vömel, for 1800 Reichsmark, a price that was below the 1931 insurance value of the painting. The low price and the absence of records proving that Flechtheim received the sales proceeds from Vömel and that he was able to freely dispose of the sales proceeds, make this a clear case of Nazi looted art, according to the heirs’ lawyer.

The City of Cologne has, however, refused to give the painting back so far. The provenance of the painting, says Kaspar König, director of the Ludwig Museum, to ZEIT, is not fully resolved. He says the history is more complex, but details will not yet be published since research is still ongoing.


Exactly which paintings are being claimed back by the heirs from different museums is something neither the attorney nor the museums involved wanted to comment on. The Hamburg Kunsthalle, however, known for their special commitment to provenance research, was able to successfully exclude that Klee’s Felsige Küste (1931) was from Flechtheim’s collection. In contrast to this, other museums, eleven years after their commitment to the return of looted art, are showing only little impetus to research their holdings.

Museums stonewalling Jews is nothing new, but it is good to see that the German press is critical of museums that do not return art stolen from Jews.

In the U.S., museum directors who hold on to artworks stolen from Jews get big promotions.  When will any American museum recognize Flechtheim's contribution to 20th Century art?  And when will they admit that the art in their collections was stolen from Flechtheim by a Nazi?   If a German newspaper can publish these things, why won't the New York Times?


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