Hulton v. Bayerische Staatsgemaldesammlungen

346 F. Supp. 3d 546
District Court, S.D. Illinois·Decided September 28, 2018·No. No. 16-cv-9360 (RJS)·Published·Cited by 1 cases

Opinion

RICHARD J. SULLIVAN, UNITED STATES DISTRICT JUDGE

Plaintiffs Michael Hulton and Penny Hulton, the sole heirs of Alfred Flechtheim - a renowned German Jewish art dealer and collector during the 1920s and 1930s - bring this suit against Freistaat Bayern (the "Free State of Bavaria" or "Bavaria") and Bayerische Staatsgemäldesammlungen (the "Bavarian State Paintings Collections" or "BSGS," and together with Bavaria, "Defendants") for the return of several paintings which are now in Defendants' possession. Now before the Court is Defendants' motion to dismiss for lack of subject matter jurisdiction under Federal Rule of Civil Procedure 12(b)(1) and the Foreign Sovereign Immunities Act ("FSIA"), 28 U.S.C. §§ 1602 - 1611. For the reasons stated herein, the motion to dismiss is GRANTED.

I. BACKGROUND 1

A. Facts

Flechtheim, a pioneer collector and promoter of modern art, operated galleries in *548Düsseldorf and Berlin during the 1920s and 1930s (Compl. ¶ 48), and represented a range of notable artists, including Max Beckmann, Paul Klee, and Juan Gris (id. ¶¶ 46, 47). Among his collection were the paintings contested in this case (the "Paintings' "), including six works by Beckmann (Duchess of Malvedi (1926), Still Life with Cigar Box (1926), Still Life with Studio Window (1931), Dream-Chinese Fireworks (1927), Champagne Still Life (1929), Quappi in Blue (1926) ); one work by Gris (Cruche et verre sur un table (1916) ); and one work by Klee (Grenzen des Verstandes (1927) ). (Id. ¶ 17.)

Upon their rise to power in March 1933, the Nazis began a policy of "Aryanization" - the state-sponsored takeover of Jewish businesses. (Id. ¶ 65, 73.) On March 30, 1933, Alex Vömel - who was the employee in charge of Flechtheim's Düsseldorf gallery and a member of the Brownshirts (id. ¶¶ 45, 50) - announced "that his gallery would be opening 'in the previous premises of the Flechtheim Gallery.' " (Id. ¶ 83.) Around the same time, Nazis "stormed an auction that had been organized by Flechtheim." (Id. ¶ 79.) Recognizing the danger he faced, Flechtheim fled to Paris in May 1933. (Id. ¶ 810.)

In the summer of 1933, "[i]n order to avoid insolvency as a direct result" of Nazi persecution, "Flechtheim was forced to place his property at the disposal of" Alfred Schulte (id. ¶ 85), whom Plaintiffs describe as a "Nazi tax advisor" (id. ¶ 20). Schulte "officially took possession of all of Flechfheim's belongings and subsequently sold a good deal of [them] to the benefit of Flechtheim's German creditors and the Nazi state's authorities." (Id. at ¶ 85.) Simultaneously, Vömel sold much of Flechtheim's collection through Christopher Bernoulli, "a Swiss art dealer ... [, thereby] converting for his own profit what clearly belonged to" Flechtheim. (Id. ¶ 88.) Plaintiffs allege that although Flechtheim was able to move a portion of his collection abroad before his business was taken, the Paintings at issue here remained in Germany. (Id. ¶ 86.) Nevertheless, it is unclear whether Vömel, Schulte, or someone else disposed of the Paintings; Plaintiffs merely allege that the Paintings were sold in Germany after Flechtheim's flight. (Id. ) Flechtheim apparently never returned to Germany, dying in London in 1937. (Id. ¶ 89.)

The Paintings are now in the possession of BSGS, which "oversees Bavaria's public collections of artworks on display in [its] museums both in[side] and outside of Munich...." (Id. at ¶ 14.) The six paintings by Beckmann were donated to BSGS in 1974 by Güinther Franke, who claimed to have acquired the paintings "in 1932 or 1933." (Id. ¶ 93.) Plaintiffs assert that Franke's claim is false, and that Franke succeeded to the paintings from Vömel, Schulte, or someone else as a result of the persecution of Flechtheim. (Id. ¶ 107.) Plaintiffs do not attempt to explain how BSGS came into possession of the Gris and Klee paintings, but assert that the two works "changed hands because of Nazi persecution of their owner [in or after] 1933," implying that BSGS received the paintings from whomever obtained them during the 1930s (or the successor to that person). (Id. ¶ 110.)

B. Procedural History

Plaintiffs commenced this action by filing a complaint on December 5, 2016, asserting *549claims of replevin, conversion, unjust enrichment, breach of fiduciary duty, and bailment under the common law. (Doc. No. 1.) On November 15, 2017, Defendants filed the instant motion to dismiss with prejudice for lack of subject matter jurisdiction under the Foreign Sovereign Immunities Act ("FSIA"), 28 U.S.C. §§ 1602 - 1611. (Doc. No. 26.) On January 26, 2018, Plaintiffs filed their opposition. (Doc. No. 31.) The motion was fully briefed on February 23, 2018. (Doc. No. 32.)

II. LEGAL STANDARD

In the context of a motion to dismiss for lack of subject matter jurisdiction pursuant to Federal Rule of Civil Procedure 12(b)(1), the party seeking to invoke the Court's jurisdiction bears the burden of proving that subject matter jurisdiction exists. Robinson v. Overseas Military Sales Corp. , 21 F.3d 502, 507 (2d Cir. 1994). "A case is properly dismissed for lack of subject matter jurisdiction under Rule 12(b)(1) when the district court lacks the statutory or constitutional power to adjudicate it." Makarova v. United States , 201 F.3d 110, 113 (2d Cir. 2000).

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Hulton v. Bayerische Staatsgemaldesammlungen, 346 F. Supp. 3d 546 (S.D. Ill. 2018).

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