Republic of Austria v. Altmann

541 U.S. 677, 124 S. Ct. 2240, 159 L. Ed. 2d 1, 2004 U.S. LEXIS 4030
Supreme Court of the United States·Decided June 7, 2004·No. 03-13·Published·Cited by 410 cases

Opinions

Justice Stevens

delivered the opinion of the Court.

In 1998 an Austrian journalist, granted access to the Austrian Gallery’s archives, discovered evidence that certain valuable works in the Gallery’s collection had not been donated by their rightful owners but had been seized by the Nazis or expropriated by the Austrian Republic after World War II. The journalist provided some of that evidence to respondent, who in turn filed this action to recover possession of six Gustav Klimt paintings. Prior to the Nazi invasion of Austria, the paintings had hung in the palatial Vienna home of respondent’s uncle, Ferdinand Bloch-Bauer, a Czechoslovakian Jew and patron of the arts. Respondent claims ownership of the paintings under a will executed by her uncle after he fled Austria in 1938. She alleges that the [681]*681Gallery obtained possession of the paintings through wrongful conduct in the years during and after World War II.

The defendants (petitioners here) — the Republic of Austria and the Austrian Gallery (Gallery), an instrumentality of the Republic — filed a motion to dismiss the complaint asserting, among other defenses, a claim of sovereign immunity. The District Court denied the motion, 142 F. Supp. 2d 1187 (CD Cal. 2001), and the Court of Appeals affirmed, 317 F. 3d 954 (CA9 2002), as amended, 327 F. 3d 1246 (2003). We granted certiorari limited to the question whether the Foreign Sovereign Immunities Act of 1976 (FSIA or Act), 28 U. S. C. § 1602 et seq., which grants foreign states immunity from the jurisdiction of federal and state courts but expressly exempts certain cases, including “case[s]... in which rights in property taken in violation of international law are in issue,” § 1605(a)(3), applies to claims that, like respondent’s, are based on conduct that occurred before the Act’s enactment, and even before the United States adopted the so-called “restrictive theory” of sovereign immunity in 1952. 539 U. S. 987 (2003).

I

Because this case comes to us from the denial of a motion to dismiss on the pleadings, we assume the truth of the following facts alleged in respondent’s complaint.

Born in Austria in 1916, respondent Maria V. Altmann escaped the country after it was annexed by Nazi Germany in 1938. She settled in California in 1942 and became an American citizen in 1945. She is a niece, and the sole surviving named heir, of Ferdinand Bloch-Bauer, who died in Zurich, Switzerland, on November 13, 1945.

Prior to 1938 Ferdinand, then a wealthy sugar magnate, maintained his principal residence in Vienna, Austria, where the six Klimt paintings and other valuable works of art were housed. His wife, Adele, was the subject of two of the paintings. She died in 1925, leaving a will in which she “ask[ed]” her husband “after his death” to bequeath the paintings to [682]*682the Gallery.1 App. 187a, ¶ 81. The attorney for her estate advised the Gallery that Ferdinand intended to comply with his wife’s request, but that he was not legally obligated to do so because he, not Adele, owned the paintings. Ferdinand never executed any document transferring ownership of any of the paintings at issue to the Gallery. He remained their sole legitimate owner until his death. His will bequeathed his entire estate to respondent, another niece, and a nephew.

On March 12, 1938, in what became known as the “Ansch-luss,” the Nazis invaded and claimed to annex Austria. Ferdinand, who was Jewish and had supported efforts to resist annexation, fled the country ahead of the Nazis, ultimately settling in Zurich. In his absence, according to the complaint, the Nazis “Aryanized” the sugar company he had directed, took over his Vienna home, and divided up his artworks, which included the Klimts at issue here, many other valuable paintings, and a 400-piece porcelain collection. A Nazi lawyer, Dr. Erich Führer, took possession of the six Klimts. He sold two to the Gallery in 19412 and a third in 1943, kept one for himself, and sold another to the Museum of the City of Vienna. The immediate fate of the sixth is not known. 142 F. Supp. 2d, at 1193.

In 1946 Austria enacted a law declaring all transactions motivated by Nazi ideology null and void. This did not result in the immediate return of looted artwork to exiled Austrians, however, because a different provision of Austrian [683]*683law proscribed export of “artworks ... deemed to be important to [the country’s] cultural heritage” and required anyone wishing to export art to obtain the permission of the Austrian Federal Monument Agency. App. 168a, ¶ 32. Seeking to profit from this requirement, the Gallery and the Federal Monument Agency allegedly adopted a practice of “forc[ing] Jews to donate or trade valuable artworks to the [Gallery] in exchange for export permits for other works.” Id., at 168a, ¶ 33.

The next year Robert Bentley, respondent’s brother and fellow heir, retained a Viennese lawyer, Dr. Gustav Rinesch, to locate and recover property stolen from Ferdinand during the war. In January 1948 Dr. Rinesch wrote to the Gallery requesting return of the three Klimts purchased from Dr. Führer. A Gallery representative responded, asserting — falsely, according to the complaint — that Adele had bequeathed the paintings to the Gallery, and the Gallery had merely permitted Ferdinand to retain them during his lifetime. Id., at 170a, ¶ 40.

Later the same year Dr. Rinesch enlisted the support of Gallery officials to obtain export permits for many of Ferdinand’s remaining works of art. In exchange, Dr. Rinesch, purporting to represent respondent and her fellow heirs, signed a document “acknowledgfing] and accepting] Ferdinand’s declaration that in the event of his death he wished to follow the wishes of his deceased wife to donate” the Klimt paintings to the Gallery. Id., at 177a, ¶56. In addition, Dr. Rinesch assisted the Gallery in obtaining both the painting Dr. Führer had kept for himself and the one he had sold to the Museum of the City of Vienna.3 At no time during these transactions, however, did Dr. Rinesch have respondent’s permission either “to negotiate on her behalf or to allow [684]*684the [Gallery] to obtain the Klimt paintings.” Id., at 178a, ¶ 61-

In 1998 a journalist examining the Gallery’s files discovered documents revealing that at all relevant times Gallery officials knew that neither Adele nor Ferdinand had, in fact, donated the six Klimts to the Gallery. The journalist published a series of articles reporting his findings, and specifically noting that Klimt’s first portrait of Adele, “which all the [Gallery] publications represented as having been donated to the museum in 1936,” had actually been received in 1941, accompanied by a letter from Dr. Führer signed “ ‘Heil Hitler.’” Id., at 181a, ¶ 67.

In response to these revelations, Austria enacted a new restitution law under which individuals who had been coerced into donating artworks to state museums in exchange for export permits could reclaim their property. Respondent — who had believed, prior to the journalist’s investigation, that Adele and Ferdinand had “freely donated” the Klimt paintings to the Gallery before the war — immediately sought recovery of the paintings and other artworks under the new law. Id., at 178a-179a, ¶ 61,182a.

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Republic of Austria v. Altmann, 541 U.S. 677, 124 S. Ct. 2240, 159 L. Ed. 2d 1, 2004 U.S. LEXIS 4030 (2004).

541 U.S. 677 (Republic of Austria v. Altmann) — published by Counsel Stack Legal Research, free access to 12M+ legal documents.

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