De Sole v. Knoedler Gallery, LLC

974 F. Supp. 2d 274, 2013 WL 5452669
CourtDistrict Court, S.D. New York
DecidedSeptember 30, 2013
DocketNos. 12 Civ. 2313(PGG), 12 Civ. 5263(PGG)
StatusPublished
Cited by52 cases

This text of 974 F. Supp. 2d 274 (De Sole v. Knoedler Gallery, LLC) is published on Counsel Stack Legal Research, covering District Court, S.D. New York primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
De Sole v. Knoedler Gallery, LLC, 974 F. Supp. 2d 274, 2013 WL 5452669 (S.D.N.Y. 2013).

Opinion

MEMORANDUM OPINION & ORDER

PAUL G. GARDEPHE, District Judge.

In these actions, Plaintiffs claim that paintings that they purchased from Defendant Knoedler Gallery, LLC (“Knoedler”) — on the representation that they had been created by Mark Rothko and Willem de Kooning — were forgeries. In addition to Knoedler, the named defendants include 8-31 Holdings Inc., Knoedler’s sole member; Michael Hammer, Knoedler’s managing member and the owner of 8-31 Holdings, Inc.; Ann Freedman, Knoedler’s former president; Jaime Andrade, a former Knoedler employee; Glafira Rosales, a Long Island art dealer and the alleged source of the forged paintings; and Carlos Bergantinos Diaz, Ro[286]*286sales’ “longtime companion.” Plaintiffs claim that Knoedler sold nearly forty paintings it acquired from Rosales, all of which were represented to be works created by well-known abstract expressionist artists, but which were in fact forgeries. Plaintiffs further allege that as early as October 2003, Knoedler and Freedman had reason to doubt the authenticity of these paintings, but nonetheless continued to sell the works Rosales produced until 2007.

Plaintiffs’ complaints assert claims under the Racketeer Influenced and Corrupt Organizations Act (“RICO”), and state law causes of action for fraud, breach of warranty, and unilateral and mutual mistake.

Defendants in both actions have moved to dismiss all claims against them.

BACKGROUND

I. FACTS

A. The Knoedler Gallery, Ann Freedman, and Glafira Rosales

Defendant Knoedler Gallery, LLC was founded in 1846, and for more than a century, it was one of New York City’s most respected art galleries. (Howard Cmplt. ¶ 7) Defendant Ann Freedman began working at Knoedler in the 1970s, and in 1995 she became its president and a director of 8-31 Holdings, Inc. Defendant Michael Hammer is the owner and chairman of Knoedler, and also the president and owner of 8-31 Holdings, Inc. {De Sole Am. Cmplt. ¶¶ 14,15; Howard Am. Cmplt. ¶ 7)

In the mid-1990’s, Defendant Jaime Andrade, a Knoedler employee, introduced Defendant Glafira Rosales to Freedman and others at Knoedler. {De Sole Am. Cmplt. ¶ 23; Howard Cmplt. ¶ 4) Rosales was a Long Island art dealer who claimed to have access to a collection of previously unknown “masterworks” by certain abstract expressionist artists. {De Sole Am. Cmplt. ¶ 23) Rosales initially claimed that these paintings belonged to a friend. {De Sole Am. Cmplt. ¶ 24)

Rosales later explained to Freedman that, as a child in Mexico, she had met a couple who were European Jewish émigrés. {De Sole Am. Cmplt. ¶24) The husband made frequent business trips to the United States between the 1940’s and 1970’s. {De Sole Am. Cmplt. ¶ 24) During his visits to the U.S., the husband purchased artworks directly from a number of now well-known abstract expressionist artists, including Mark Rothko, Jackson Pollock, Franz Kline, Clyfford Still, Robert Motherwell, and Barnett Newman. {De Sole Am. Cmplt. ¶ 24) The couple died in the early 1990s, leaving these works to their children. {De Sole Am. Cmplt. ¶ 24) According to Rosales, the children — a daughter and son — lived in Mexico and Switzerland, were not interested in art, were interested in selling the paintings, and wished to remain strictly anonymous. {De Sole Am. Cmplt. ¶ 24) Rosales referred to the deceased collector and his son as “Mr. X” and “Mr. X, Jr.” {Howard Cmplt. ¶¶ 3, 41)

Rosales also told Freedman that the deceased collector had corresponded with the various artists, but that these letters had been “disposed of’ after his death. {De Sole Am. Cmplt. ¶ 26) Rosales reported that the collector’s son “remembers seeing artists in his father’s home” and “remembered seeing his parents pay in cash to one of the artists.” {De Sole Am. Cmplt. ¶¶ 26-27)

At some point in 2000, Rosales told Freedman that the son of the collector had “confirmed” that his father — in purchasing these paintings — had relied on the advice of Alfonso Ossorio, another abstract expressionist artist, who was a friend and colleague of the artists whose works the [287]*287collector had purchased. {De Sole Am. Cmplt. ¶¶ 29-80) Rosales explained that all correspondence between Ossorio and the collector had likewise been thrown out after the collector’s death. {De Sole Am. Cmplt. ¶ 30) In or around 2001, Knoedler employees and retained experts attempted to verify Rosales’ story regarding the connection between the collector and Ossorio. {De Sole Am. Cmplt. ¶31) Knoedler did not find any evidence corroborating the link between the collector and Ossorio. {De Sole Am. Cmplt. ¶ 31) In December 2001, Rosales told Freedman that “Gerzo” was a “family” name connected to the collector, but not his name. {De Sole Am. Cmplt. ¶ 32) Knoedler then investigated— without success — whether there was a connection between Ossorio and a well-known Mexican artist, Gunther Gerzso. {De Sole Am. Cmplt. ¶ 32)

B. Levy’s 2001 Purchase of the “Green Pollock”

In late 2001, Freedman and Knoedler sold a purported Jackson Pollock — Untitled 191f9 (the “Green Pollock”) — to Jack Levy for $2 million. {Howard Cmplt. ¶ 43) Knoedler had purchased this work from Rosales in March 2001 for $750,000. {De Sole Am. Cmplt. ¶ 40)

Freedman and Knoedler represented to Levy that Mr. X had acquired the work through Ossorio, who lived near Pollock on Long Island. {Howard Cmplt. ¶44) The sale to Levy was conditioned on a favorable review of the work’s provenance1 and authenticity by the International Foundation for Art Research (“IFAR”). {Howard Cmplt. ¶ 45)

In October 2003, Levy obtained the IFAR report. {Howard Cmplt. ¶ 46) The report states that “IFAR believes that too many reservations exist to make a positive attribution to Jackson Pollock.” {Howard Cmplt. ¶ 46) The report also states that it is “inconceivable” that Pollock sold this work through Ossorio. {Howard Cmplt. ¶¶ 47-48) As a result of the IFAR report, the sale of the alleged Pollock was can-celled, and Knoedler refunded the purchase price to Levy. {Howard Cmplt. ¶ 51) After receiving the negative IFAR report concerning the alleged Pollock, Knoedler did not submit any additional works obtained from Rosales to IFAR for analysis.2 {Howard Cmplt. ¶ 54)

[288]*288On December 15, 2003, at Freedman’s direction, the IFAR report was faxed to Hammer. {De Sole Am. Cmplt. ¶44) In the fax cover sheet accompanying the report, Freedman discussed the fallout from the IFAR report, including the effect that the report would have on a partner’s willingness to continue to invest in the Green Pollock. {De Sole Am. Cmplt. ¶ 45) A handwritten note on the reverse side of the fax cover sheet contains the following phrases in quotation marks: “discreet sources are my stock in trade,” “don’t kill the goose that’s laying the Golden egg,” and “I’m not going to change my way of doing business. If you are not [comfortable] — step away.” {De Sole Am. Cmplt. ¶ 45) Plaintiffs have not alleged who wrote these notes.

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974 F. Supp. 2d 274, 2013 WL 5452669, Counsel Stack Legal Research, https://law.counselstack.com/opinion/de-sole-v-knoedler-gallery-llc-nysd-2013.