Julius H. Schoeps v. Sompo Holdings, Inc.

CourtCourt of Appeals for the Seventh Circuit
DecidedNovember 21, 2025
Docket25-1405
StatusPublished

This text of Julius H. Schoeps v. Sompo Holdings, Inc. (Julius H. Schoeps v. Sompo Holdings, Inc.) is published on Counsel Stack Legal Research, covering Court of Appeals for the Seventh Circuit primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Julius H. Schoeps v. Sompo Holdings, Inc., (7th Cir. 2025).

Opinion

In the

United States Court of Appeals For the Seventh Circuit ____________________ No. 25-1405 JULIUS H. SCHOEPS, et al., Plaintiffs-Appellants, v.

SOMPO HOLDINGS, INC., et al., Defendants-Appellees. ____________________

Appeal from the United States District Court for the Northern District of Illinois, Eastern Division. No. 1:22-cv-07013 — Jeremy C. Daniel, Judge. ____________________

ARGUED SEPTEMBER 18, 2025 — DECIDED NOVEMBER 21, 2025 ____________________

Before RIPPLE, LEE, and PRYOR, Circuit Judges. RIPPLE, Circuit Judge. Julius Schoeps, Florence von Kes- selstatt, and Britt-Marie Enhoerning, 1 acting as the heirs of

1 Mr. Schoeps is a German citizen residing in Berlin, Germany. Ms. En-

hoerning is a dual citizen of the United States and Sweden, residing in Sweden. Ms. Kesselstatt is a resident of Munich, Germany. Ms. Kes- selstatt’s citizenship is not specified in the complaint. The plaintiffs do not invoke the jurisdiction of the district court on the ground of diversity. 2 No. 25-1405

Paul von Mendelssohn-Bartholdy, a German art collector who was persecuted by the Nazi government, brought this action against Sompo Holdings, Inc. (“Sompo Holdings”), Sompo International Holdings Ltd. (“Sompo International”), Sompo Japan Insurance, Inc. (“Sompo Japan”), and Sompo Fine Art Foundation (“Sompo Foundation”). 2 They seek to recover Sunflowers, a painting by Vincent van Gogh. According to the allegations of the complaint, the defendants wrongfully con- verted the painting and exploited it for financial gain. For the reasons set forth in this opinion, we affirm the judgment of the district court.

2 Sompo Japan is incorporated in Japan. Its headquarters and principal

place of business are also in Japan, although it has subsidiaries throughout the world. The other three defendants are affiliates of Sompo Japan. Sompo International is incorporated in Bermuda and has its principal place of business in Bermuda. Sompo International was established in 2017. Sompo Foundation is incorporated in Japan and has its principal place of business in Japan. Sompo Foundation was established in 1976 as a public interest corporation. Its activities include collecting and preserv- ing art for display in the Sompo Museum of Art in Tokyo, where Sunflow- ers is currently on permanent display. Sompo Holdings is incorporated in Japan and has its principal place of business in Tokyo. It is the parent com- pany of Sompo Japan, Sompo International, and Sompo Foundation. Sompo Holdings was established in 2010. The Sompo family of companies (except for Sompo Foundation) engages in the sale of property and casu- alty insurance. In conducting their business, the Sompo companies coor- dinate with each other to some degree. No. 25-1405 3

I BACKGROUND A. Facts This appeal comes to us from the district court’s grant of a motion to dismiss under Rules 12(b)(1) and 12(b)(2) of the Federal Rules of Civil Procedure. We therefore take as true the allegations of the complaint and base this present recitation on those allegations. However, we also may rely on each party’s written declarations, resolving all factual disputes in the plaintiffs’ favor. B.D. ex rel. Myers v. Samsung SDI Co., 143 F.4th 757, 763 (7th Cir. 2025). Vincent van Gogh painted Sunflowers in 1888. Paul von Mendelssohn-Bartholdy, a German banker and art collector, later acquired the painting. Mendelssohn-Bartholdy was the co-owner and director of an international bank, Mendelssohn & Co., which was one of the five largest private banks in Ger- many. He also was a prominent member of the finance indus- try and held a seat on the board of the Berlin Stock Exchange. When the Nazi Party came to power, it targeted Mendels- sohn-Bartholdy for persecution because he was Jewish. Throughout the 1930s, he suffered increasingly severe sanc- tions that ultimately eroded his livelihood. In 1934, he was re- moved from participation in the Reich Insurance Corporation and the Central Union of German Banking and Bankers. He also was removed from the board of the Berlin Stock Ex- change. Mendelssohn & Co. was transferred forcibly to non- Jewish ownership. Finding himself in an untenable financial situation, Men- delssohn-Bartholdy had to liquidate his art collection. In 1934, he placed Sunflowers on consignment with Paul Rosenberg, a 4 No. 25-1405

Parisian art dealer. Rosenberg sold Sunflowers to Edith Beatty, a British-American heiress. Sunflowers was sold again in 1987 at Christie’s auction house in London. It was purchased for $40 million by Yasuda Fire and Marine Insurance Company (“Yasuda”), the predecessor-in-interest of defendant Sompo Japan. Yasuda kept Sunflowers in Japan until 2001. It then loaned the painting to the Art Institute of Chicago for tempo- rary exhibition. That exhibition—titled “Van Gogh and Gau- guin: The Studio of the South”—lasted approximately four months, from September 2001 to January 2002. Following the Chicago exhibition, the Van Gogh Museum in Amsterdam displayed Sunflowers for approximately four months. As part of its loan agreements with the Art Institute of Chicago and the Van Gogh Museum, Yasuda received reciprocal promises from both to lend Van Gogh paintings to an exhibition in To- kyo in 2003. While coordinating the exhibition in Chicago, a repre- sentative of Yasuda emailed a representative of the Art Insti- tute of Chicago, stating concerns about the provenance of Sunflowers and the possibility that it was Nazi-looted art.3

3 In an email to both the Art Institute of Chicago and the Van Gogh Mu-

seum, a Yasuda representative stated: “In regard to the ownership issue, we can not [sic] change the ownership during this loan period under no circumstances even Nazis [sic] confiscation problem may arise in America and in Holland. We would like to include the clear terms in the loan agree- ment to protect our paintings against this problem.” R.39-1. In another email, they wrote “[w]e are deeply concerned about our Gogh’ and Gau- guin’ provenance. We think our two works have nothing to do with Nati- looted [sic] art, but we are not 100% sure. Could you advise us with your suggestion on this issue?” R.39-16. No. 25-1405 5

They concluded that the provenance was “clear.” 4 Sunflowers returned to Japan in 2002, where it has remained. In 2002, following a merger, Yasuda changed its name to Sompo Japan Insurance, Inc. Sompo Japan remains the owner of Sunflowers to this day. Sompo International’s website states that “Sompo Interna- tional is backed by the financial strength of Sompo Holdings, Inc., which holds more than $100 billion in total assets.” 5 Sompo Holdings and Sompo International have interlocking office space in Tokyo and at least four individuals hold exec- utive positions in both companies. Additionally, Sompo Holdings has encouraged its stakeholders and clientele to view the Sompo family of companies as “One Sompo.” The corporate family has a large global footprint, including ap- proximately 80,000 employees in 228 cities across thirty coun- tries. Sompo Holdings and Sompo International each maintain separate websites that are accessible internationally, includ- ing in Illinois. The Sompo Holdings website contains an im- age of Sunflowers. Sompo International’s website includes a page stating that it has an office in Chicago, Illinois. However, the “Sompo International” office in Chicago is operated by a Sompo International subsidiary called Endurance Services Limited (“Endurance”), which uses the trade name “Sompo

4 R.39-17. Plaintiffs allege that the Art Institute of Chicago and Yasuda

colluded to file a false application with the United States Department of State to obtain assurance that the painting would not be seized as Nazi contraband.

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