Schoeps v. Sompo Holdings, Inc.

CourtDistrict Court, N.D. Illinois
DecidedJune 3, 2024
Docket1:22-cv-07013
StatusUnknown

This text of Schoeps v. Sompo Holdings, Inc. (Schoeps v. Sompo Holdings, Inc.) is published on Counsel Stack Legal Research, covering District Court, N.D. Illinois primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Schoeps v. Sompo Holdings, Inc., (N.D. Ill. 2024).

Opinion

UNITED STATES DISTRICT COURT FOR THE NORTHERN DISTRICT OF ILLINOIS EASTERN DIVISION

JULIUS H. SCHOEPS, et al., Plaintiffs No. 22 CV 7013 v. Judge Jeremy C. Daniel SOMPO HOLDINGS, INC., et al., Defendants

MEMORANDUM OPINION AND ORDER The plaintiffs, purported heirs of a German art collector who was persecuted by the Nazis, bring this action against Sompo Holdings, Inc. and its affiliates1 (collectively, “Sompo”) to recover a painting by Vincent Van Gogh. The defendants move to dismiss due to lack of personal jurisdiction, lack of subject matter jurisdiction, and forum non conveniens. (R. 57.) For the reasons set forth in this memorandum opinion, the Court grants the motion and dismisses the complaint for lack of personal jurisdiction. BACKGROUND2 In 1888, Vincent Van Gogh left Paris and moved to Arles, a town in the south of France. (R. 39-3 at 14.) While waiting for his friend, Paul Gauguin, Van Gogh began working on a series of oil paintings of sunflowers. (Id.) Although his arrival in Arles

1 Sompo International Holdings Ltd., Sompo Fine Art Foundation, and Sompo Japan Insurance Inc. 2 The facts in the background section are taken from the first amended complaint and the exhibits attached thereto and are presumed true for the purpose of resolving the motion to dismiss. Virnich v. Vorwald, 664 F.3d 206, 212 (7th Cir. 2011). marked the beginning of a period of “intense creativity” for Van Gogh, and arguably the pinnacle of his artistic career, his mental health quickly began to deteriorate. (/d.) About two months after Gauguin arrived in Arles, Van Gogh threatened him with a razor and, infamously, cut off part of his own left ear. Ud.) Although Van Gogh continued working and went on to complete his sunflowers series in 1889, he appears to have never fully recovered from this psychological break. Ud. at 22, 25.) He committed suicide the following year. at 25.) After Van Gogh’s death, one of his sunflower paintings (“Sunflowers”) was acquired by Paul von Mendelssohn-Bartholdy, a prominent German banker and art collector. (R. 39 (“FAC”) 4 127.)

(1888)

Mendelssohn-Bartholdy was a member of a well-known family whose relatives included composer Felix Mendelssohn and Enlightenment philosopher Moses

Mendelssohn. (Id.) However, because he was Jewish, Mendelssohn-Bartholdy and his family were persecuted when Adolf Hitler and the Nazi Party came to power in Germany. (Id. ¶¶ 133–183.) Throughout the 1930s, Mendelssohn-Bartholdy was

subjected to increasingly severe sanctions by the Nazi regime. (See id.) In 1934, he was ousted from the Reich Insurance Corporation and from the Central Union of German Banking and Bankers. (Id. ¶¶ 158, 162.) He was effectively removed from his role on the board of the Berlin Stock Exchange. (Id. ¶ 159.) Profits from his family bank, Mendelssohn & Co., declined precipitously. (Id. ¶¶ 173–74.) Eventually, pursuant to Nazi policies, the bank was forcibly transferred to non-Jewish ownership.

(Id. ¶¶ 203–04.) Mendelssohn-Bartholdy’s increasingly dire circumstances forced him to begin liquidating his art collection, then one of the most prominent modern art collections in Europe. (Id. ¶¶ 184–99.) In 1934, he placed Sunflowers on consignment with Paul Rosenberg, a Parisian art dealer. (Id. ¶¶ 127, 193.) Rosenberg sold the painting to Edith Beatty, a British-American heiress. (Id. ¶¶ 208, 216, 239.) Decades later, in 1987, Sunflowers was sold again in a highly publicized auction at Christie’s auction

house in London. (Id. ¶¶ 2, 5.) The buyer was Yasuda Fire and Marine Insurance Company, a Japanese insurance company and the predecessor-in-interest of Defendant Sompo Holdings, Inc. (Id. ¶¶ 5, 30, 236–39.) Yasuda paid $40 million for the painting. (Id.) Sunflowers remained in Japan until 2001, when it was sent abroad for display as part of an international Van Gogh exhibition. (Id. ¶ 70.) From September 22, 2001, to January 13, 2002, the painting was displayed at the Art Institute of Chicago (“AIC”) in Chicago, Illinois. (Id. ¶¶ 5–6, 246–255.) From February 9, 2002, to June 2, 2002, the painting appeared in an exhibition at the Van Gogh Museum in

Amsterdam. (R. 39-18.) It returned to Tokyo later that year. (Id.; R. 39-19 at 2.) In 2016, Congress enacted the Holocaust Expropriated Art Recovery Act of 2016, Pub. L. No. 114-308, 130 Stat 1524 (2016) (“HEAR Act”). The HEAR Act preempts state law statutes of limitations for actions to recover property stolen or misappropriated by the Nazis between 1933 and 1945. Id. §§ 2(6), (7), 3(2). The Act allows litigants to file a claim to recover property within six years of “actually

discover[ing]” either (a) the identity and location of the artwork or other property, or (b) a possessory interest of the claimant in the artwork or other property. Id. § 5(a). The plaintiffs, Mendelssohn-Bartholdy’s heirs, seek to use the lengthened statute of limitations established by the HEAR Act to recover Sunflowers. (See generally FAC.) They filed a twelve-count complaint against Sompo to recover the painting, its fair market value (allegedly $250 million) and damages. (See id.) The complaint asserts state law claims for replevin (Count I); conversion (Count II); trover

(Count III); imposition of a constructive trust (Count IV); unjust enrichment (Count V); breach of fiduciary duty (Counts VI and VII); and slander of title (Count VIII). The plaintiffs also assert claims for restitution and unjust enrichment under federal common law (Counts IX and X) and pursuant to the Court’s “plenary equitable authority” Article III (Counts XI and XII). Sompo now moves to dismiss based on lack of standing, lack of personal jurisdiction, and forum non conveniens. (R. 57.) LEGAL STANDARD “Rule 12(b)(1) is the means by which a defendant raises a defense that the court lacks subject-matter jurisdiction.” Bazile v. Fin. Sys. of Green Bay, Inc., 983

F.3d 274, 279 (7th Cir. 2020); Hallinan v. Fraternal Order of Police of Chi. Lodge No. 7, 570 F.3d 811, 820 (7th Cir. 2009). The plaintiff bears the burden of establishing subject matter jurisdiction in response to a Rule 12(b)(1) motion. Ctr. for Dermatology & Skin Cancer, Ltd. v. Burwell, 770 F.3d 586, 588–89 (7th Cir. 2014). When deciding a facial challenge to subject matter jurisdiction—that is, when the defendant argues that the plaintiff’s jurisdictional allegations are inadequate—“the district court must accept as true all well-pleaded factual allegations, and draw reasonable inferences in

favor of the plaintiff.” Ezekiel v. Michel, 66 F.3d 894, 897 (7th Cir. 1995). By contrast, when considering a factual challenge to subject matter jurisdiction, [t]he district court may properly look beyond the jurisdictional allegations of the complaint and view whatever evidence has been submitted on the issue to determine whether in fact subject matter jurisdiction exists.” Evers v. Astrue, 536 F.3d 651, 656–57 (7th Cir. 2008).

A motion to dismiss under Rule 12(b)(2) challenges the Court’s jurisdiction over a party. Fed. R. Civ. P. 12(b)(2). As with a Rule 12(b)(1) challenge, “the plaintiff bears the burden of demonstrating the existence of jurisdiction.” Curry v. Revolution Lab’ys, LLC, 949 F.3d 385, 392 (7th Cir. 2020) (citation omitted). In resolving a Rule 12(b)(2) motion, the Court “accept[s] as true all well-pleaded facts alleged in the complaint,” Felland v. Clifton, 682 F.3d 665, 672 (7th Cir. 2012), and “read[s] the complaint liberally with every inference drawn in favor of [the] plaintiff.” GCIU-Emp. Ret. Fund v. Goldfarb Corp., 565 F.3d 1018, 1020 n.1 (7th Cir. 2009). Although the Court may consider extrinsic evidence in deciding the motion, where—as here—the Court rules on a defendant’s Rule 12(b)(2) motion without an evidentiary hearing, “the plaintiff

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