Malewicz v. City of Amsterdam

362 F. Supp. 2d 298, 2005 U.S. Dist. LEXIS 5414, 2005 WL 724591
CourtDistrict Court, District of Columbia
DecidedMarch 30, 2005
DocketCIV.A. 04-0024(RMC)
StatusPublished
Cited by15 cases

This text of 362 F. Supp. 2d 298 (Malewicz v. City of Amsterdam) is published on Counsel Stack Legal Research, covering District Court, District of Columbia primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Malewicz v. City of Amsterdam, 362 F. Supp. 2d 298, 2005 U.S. Dist. LEXIS 5414, 2005 WL 724591 (D.D.C. 2005).

Opinion

MEMORANDUM OPINION

COLLYER, District Judge.

This lawsuit attempts to correct an alleged wrong committed by the City of Amsterdam, a political subdivision of the Kingdom of the Netherlands, when it expropriated eighty-four (84) works of art created by Kazimir Malewicz. Brought by heirs of Mr. Malewicz, who died in 1935, (the “Malewicz Heirs”) the suit arises in replevin, rescission and conversion and seeks the return of the artwork as well as damages. The first question is whether this Court has jurisdiction to hear the merits of the complaint. Having before it a fully-briefed motion to dismiss on jurisdictional grounds, and a Statement of Interest filed by the United States to which both parties have filed responses, the Court concludes that it cannot determine on this record whether the City of Amsterdam’s contacts with the United States *301 were “substantial” within the meaning of the Foreign Sovereign Immunities Act, 28 U.S.C. § 1603(e), to support jurisdiction.

I. BACKGROUND

A. The Malewicz Collection

Kazimir Malewicz was a world-renowned Russian artist in the years before World War II; “[h]e founded the Suprematist Movement, which had an enormous influence on abstract art.” 1 Mr. Malewicz took more than one hundred of his works of art to Berlin for exhibition in 1927. 2 Am. Compl. ¶ 8. When he had to return unexpectedly to Russia, he entrusted his art pieces to four friends in Germany: Gustav von Riesen, Hugo Haring, Hans Richter, and Dr. Alexander Dorner. When the exhibition closed, the art works were packed in crates and shipped to Dr. Dorner for safekeeping and storage since they could not safely be returned to Russia because “Stalinist condemnation of abstract art would undoubtedly have led to their confiscation and destruction.” Id. ¶ 9.

The art works were stored in the basement of the Landesmuseum in Hannover, Germany, of which Dr. Dorner was the director. Id. ¶ 10. Alfred Barr, then-director of the Museum of Modern Art in New York (“MoMA”), visited Dr. Dorner in 1935 and persuaded him to ship some of the works to MoMA to be held on loan. Id. Kazimir Malewicz died in May of 1935. Id. ¶ 13. Dr. Dorner fled Nazi Germany in 1937, taking two other works by Mr. Ma-lewicz with him. Id. ¶ 11. Because the Malewicz works would not have been acceptable for display to the governments of either Russia or Germany, Dr. Dorner sent the crates of Malewicz paintings and drawings to Mr. Haring who, alone of the original group of friends, remained in Berlin, Germany. Id. ¶ 13. Mr. Haring safeguarded the works in Berlin until that city was bombed in 1943, and then removed them to his native town, Biberach. Id. Mr. Haring died in Biberach in 1958. Id.

Dr. Dorner died in November 1957. He bequeathed the two Malewicz works that he had taken out of Germany to the Busch-Reisinger Museum at Harvard University in Cambridge, Massachusetts, to be held on loan and for the benefit of “the rightful owners.” Id. ¶ 11. Upon demand from the Malewicz Heirs, MoMA has resolved their demands by returning one of the Malewicz works and the Busch-Reis-inger Museum returned both works to the Heirs. Id. ¶ 12.

The Malewicz Collection at issue is housed, when not on exhibit elsewhere, at the Stedelijk Museum in Amsterdam. Id. ¶ 6. Between the years of 1951 and 1956, Dr. W.J.H.B. Sandberg, then-director of the Stedelijk, and other museum directors, tried to persuade Mr. Haring to send the Malewicz Collection to the Stedelijk for restoration and exhibition. Id. ¶ 15. Mr. Haring refused to do so and repeatedly “emphasized that he was only a custodian of the works, responsible for their safekeeping and that he had no right to convey ownership of them to anyone.” Id. Mr. Haring took the same position with anyone who attempted to purchase any works from the Malewicz Collection. When Mr. Sandberg attempted to acquire a Malewicz painting that Mr. Haring had loaned for an exhibition at the Stuttgart Staatsgalerie, he was advised that Dr. 0. Domnick of *302 Domnick Verlag of Stuttgart had attempted to buy a Malewicz painting, but that Mr. Haring had refused to sell it, declaring “that he could not sell it to me because he is not the owner and only considers himself to be the trustee of the Malewicz works.” Id. ¶ 16. Mr. Sandberg visited Mr. Haring in a hospital in Biberach in February 1956, where Mr. Haring “was recovering from many illnesses.” Id. ¶ 19. Mr. Haring explained again that “he was not the owner and that therefore he could not sell anything.” Id. This time, however, Mr. Haring finally agreed to lend the works to the Stedelijk. Id.

Mr. Sandberg prepared a short proposal stating the terms of the contemplated loan of the Malewicz Collection, which he left with Ms. Margot Aschenbrenner, Mr. Haring’s trusted secretary. Id. ¶¶ 19, 20. The note read:

Proposal of Mr. Sandberg, Director, Stedelijk Museum, Amsterdam
Mr. Hugo Haring suggested to me that the pictures and studies by Kazimir Ma-lewicz in his possession should be made available against an annual annuity of DM 12,000. At the moment it is not possible to guarantee such an annuity over a period of many years because the people expected to contribute to it are not sufficiently familiar with the collection. For that reason, may I suggest that the collection initially be lent to the Stedelijk Museum in Amsterdam for a year for purposes of exhibition in various other museums, with an option for extending it for further years.
For this purpose, I would guarantee DM 12,000.' — to Mr. Hugo Haring for this year (the first payment of DM 4,000. — ■ would take place immediately as soon as the pictures are sent to Amsterdam). During said year we would make Malew-icz’s work well-known and thus glean the possibility of guaranteeing a similar annuity to Mr. Hugo Haring for further years.
Dated: Biberach, February 29, 1956 signed: Sandberg

Director, Stedelijk Museum Amsterdam Id. ¶ 20.

The response sent by Ms. Aschenbren-ner, dated May 8, 1956, for the first time suggested the possible sale of the Malew-icz Collection for DM 120,000 (less the sum of annual rental payments made during the loan period). Mr. Sandberg readily agreed to the terms of the loan but, by letter dated June 4, 1956, he asked, “On what conditions can we purchase the collection since Mr. Haring can transfer possession but not ownership. ‘Nemo plus juris in alium transferre potest quam ipse habet.’ [One cannot transfer to another a right which he has not.].” Id. ¶ 22. In response, a letter dated June 23, 1956, signed “on behalf of’ Mr.

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Bluebook (online)
362 F. Supp. 2d 298, 2005 U.S. Dist. LEXIS 5414, 2005 WL 724591, Counsel Stack Legal Research, https://law.counselstack.com/opinion/malewicz-v-city-of-amsterdam-dcd-2005.