Robert Fletcher v. Peter Doig

CourtCourt of Appeals for the Seventh Circuit
DecidedJuly 29, 2025
Docket23-2364
StatusPublished

This text of Robert Fletcher v. Peter Doig (Robert Fletcher v. Peter Doig) 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
Robert Fletcher v. Peter Doig, (7th Cir. 2025).

Opinion

In the

United States Court of Appeals For the Seventh Circuit ____________________ Nos. 23-2364 & 16-3508 ROBERT FLETCHER and BARTLOW GALLERY, LTD, Plaintiffs, Cross-Appellees, v.

PETER DOIG, Defendant-Appellee, Cross-Appellant,

APPEAL OF: WILLIAM FREDERICK ZIESKE. ____________________

Appeals from the United States District Court for the Northern District of Illinois, Eastern Division. No. 1:13-cv-3270 — Mary M. Rowland, Judge. ____________________

ARGUED MAY 15, 2024 — DECIDED JULY 29, 2025 ____________________

Before BRENNAN, KIRSCH, and LEE, Circuit Judges. LEE, Circuit Judge. This case involves two conflicting nar- ratives over the origin of a painting. Robert Fletcher and Bartlow Gallery, Ltd., believe that Peter Doig, a well-known artist, created a painting depicting a desert scene with a pond while Doig was incarcerated in Canada in the 1970s. Accord- ing to Fletcher, he purchased the work from Doig at that time 2 Nos. 23-2364 & 16-3508

for $100. Doig flatly disputes this, saying that he was never incarcerated in Canada and the work certainly is not his. Fletcher and Bartlow sued, asking the court to declare that it was Doig who created the painting. After three years of heated litigation, the district court held a bench trial and sided with Doig, finding that the landscape was not painted by the artist, but by another individual named Peter Doige. And so, the court entered judgment against Fletcher and Bartlow and in favor of Doig. At the conclusion of the case, Doig and the other named defendants filed a motion seeking sanctions against Fletcher, Bartlow, and their counsel, William Zieske, under Federal Rule of Civil Procedure 11 and 28 U.S.C. § 1927 for litigating the case in bad faith. The district court granted the motion, and Zieske now appeals the award of sanctions and the dis- trict court’s subsequent denial of his motion to amend that award. 1 Central to Zieske’s argument is the district court’s prior ruling denying Doig’s motion for summary judgment on the grounds that there were genuine disputes of material fact. But good faith to prosecute a claim at one stage of the litigation does not preclude a more fulsome record from rendering the claim frivolous later. Because the district court did not abuse its discretion in granting the motion for sanctions here, we af- firm.

1 Although Doig filed a cross-appeal, he has chosen not to pursue it. Nos. 23-2364 & 16-3508 3

I A. The Painting 2 In the mid-1970s, Fletcher attended Lakehead University in Thunder Bay, Ontario, and he worked as a correctional of- ficer at the Thunder Bay Correctional Center (TBCC). During that time, Fletcher purchased a painting from a prisoner in- carcerated at TBCC. The painting depicted a desert landscape with a pond. Fletcher had observed the painting’s progress from its in- itial stages to completion over a period of some months, as the painter composed the work in TBCC art classes. After the painter was released from prison, Fletcher helped the artist find employment through the Seafarers Union in Thunder Bay, and the painter (presumably, out of gratitude) sold the painting to Fletcher for $100. The painter signed the painting, “1976 Pete Doige.” Nearly forty years later, in 2011, Fletcher’s friend noticed the painting while visiting Fletcher’s home and suggested that it had been created by renowned artist, Peter Doig. Hop- ing to sell the painting, Fletcher contacted art dealer, Peter Bartlow, who owned Bartlow Gallery. Fletcher and Bartlow agreed to split the proceeds of any sale. Around the same time, Fletcher contacted Sotheby’s for an estimate in the event that the painting was sold at auction. He received an email response acknowledging the rarity of such an early painting by Doig and requesting more information, such as whether the work was signed, dated, or titled; the

2 The facts are taken from the district court’s findings from the bench trial and are uncontroverted unless otherwise noted. 4 Nos. 23-2364 & 16-3508

painting’s size; and the history of the painting and how Fletcher came to acquire it. Meanwhile, Bartlow sought to authenticate the painting. First, he sent an email to Doig regarding the painting and Fletcher’s acquisition of it. Doig’s associate responded, stating that Doig had never lived or attended school in Thunder Bay and did not believe he knew Fletcher. Despite this, Bartlow emailed Gordon VeneKlasen, Doig’s longtime gallerist. In the email, Bartlow noted Fletcher’s belief that he had purchased the painting from Doig and observed that Bartlow could not find any accounts of Doig’s life from 1976 to 1978. Suggesting that Doig may desire to keep his in- carceration private, Bartlow proposed that VeneKlasen ask Doig to admit authorship of the work so that “the circum- stances shall remain forgotten.” In the ensuing exchange, VeneKlasen declared that the painting was not authored by Doig, and Bartlow accused Doig of falsifying records to obscure facts about his past. Bartlow resolved to “turn up the heat a notch” in the face of Doig’s denial that the work was his. B. The Proceedings Fletcher and Bartlow filed this lawsuit in 2013 against Doig, VeneKlasen, Matthew Dontzin (Doig’s attorney), and Dontzin Law Firm LLP. They alleged that the defendants had interfered with their prospective economic advantage and re- quested a declaratory judgment stating their right to attribute the painting to Doig. In response, Dontzin and his firm served Fletcher and Bartlow’s counsel, William Zieske, with a letter notifying him of their intention to seek sanctions pursuant to Rule 11(c) and Nos. 23-2364 & 16-3508 5

demanding that he withdraw the complaint. Attached to the letter were numerous exhibits, including correspondence from Lakehead University indicating that no one by the name of Peter Doig had ever been enrolled there; search results from a police database indicating that Peter Doig did not have a criminal record; records from Doig’s secondary school as well as correspondence with family members indicating that he was not incarcerated in 1975 or 1976; and internet searches for “Peter Doige” showing that there were several individuals with that name living in Canada. When the plaintiffs refused to withdraw their complaint, the defendants provided a sworn declaration by Marilyn Doige Bovard. In it, Bovard stated that she was the sister of one Peter Edward Doige, who had attended Lakehead Uni- versity in the 1970s. She also recalled that in the 1970s, her brother had been incarcerated at TBCC, where he had taken painting and music classes and created several paintings and drawings. To top it off, Bovard said that the desert scene de- picted in the painting in question resembled a location in Ar- izona where she and her brother had lived for six months. At- tached to her declaration were copies of Doige’s Lakehead University student ID and his driver’s license, along with a statement of his death. At a September 2013 status hearing, the district court in- vited Zieske to consider staying the case to determine whether the painting had been created by Doige rather than Doig given the evidence the defendants had produced. The court reminded Zieske that, even if he had had a reasonable basis for initiating the case, he could “lose an objectively rea- sonable basis in the middle of the litigation.” The district court commented that it was at least conceivable that such time had 6 Nos. 23-2364 & 16-3508

come. Undeterred, Zieske declared his intent to continue pur- suing the case. Some months later, Zieske submitted an affidavit, in which he recounted a conversation with Peter Doige’s (and Bovard’s) mother.

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