Seltzer v. Morton

2007 MT 62, 154 P.3d 561, 336 Mont. 225, 2007 Mont. LEXIS 98
CourtMontana Supreme Court
DecidedMarch 12, 2007
Docket05-378
StatusPublished
Cited by119 cases

This text of 2007 MT 62 (Seltzer v. Morton) is published on Counsel Stack Legal Research, covering Montana Supreme Court primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Seltzer v. Morton, 2007 MT 62, 154 P.3d 561, 336 Mont. 225, 2007 Mont. LEXIS 98 (Mo. 2007).

Opinion

JUSTICE NELSON

delivered the Opinion of the Court.

¶1 This appeal follows a civil jury trial conducted in the District Court of the Eighth Judicial District, Cascade County. The Plaintiff, W. Steve Seltzer (“Seltzer”), filed suit against Steve Morton (“Morton”), Dennis A. Gladwell (“Gladwell”), and Gibson, Dunn & Crutcher, L.L.P., (“GDC”) (collectively “Defendants”), claiming that they had committed the torts of malicious prosecution and abuse of process. In the first phase of trial, the jury found in favor of Seltzer and awarded $1.1 million in compensatory damages. At this time, the jury also determined that the Defendants should be subjected to a punitive sanction. In the second phase of trial, the jury assessed punitive damages in the amount of $100,000.00 against Morton, $150,000.00 against Gladwell, and $20 million against GDC. The District Court reviewed the punitive damages verdicts, pursuant to both Montana statutory law and federal caselaw, and issued an order reducing the sanction against GDC to $9.9 million.

¶2 Seltzer has filed an appeal, arguing that the District Court erred in reducing the punitive damages verdict. The Defendants have filed a cross-appeal, arguing that the court erred by not further reducing *229 the punitive damages verdict. Additionally, the Defendants have presented numerous other cross-appeal issues that were raised during trial and in post-verdict motions. We will address these various cross-appeal issues before considering the propriety of the District Court’s decision regarding punitive damages. Specifically, in this order, we consider:

¶3 (1) Did the District Court err in instructing the jury regarding Seltzer’s two theories of liability?

¶4 (2) Are the Defendants entitled to judgment as a matter of law on Seltzer’s abuse-of-process claim?

¶5 (3) Are the Defendants entitled to a new trial based on the District Court’s evidentiary rulings?

¶6 (4) Are the Defendants entitled to a new trial or remittitur based on Seltzer’s closing argument?

¶7 (5) Is the jury’s award of compensatory damages supported by substantial credible evidence?

¶8 (6) Did the District Court err in not applying the current statutory cap on punitive damages?

¶9 (7) Did the District Court err in following Montana statutory law regarding evidence of a defendant’s financial condition?

¶10 (8) Is GDC entitled to judgment as a matter of law on the punitive damages verdict?

¶11 (9) Did the District Court err in applying federal due process law to the jury’s punitive damages award?

¶12 We affirm in all respects.

FACTUAL AND PROCEDURAL BACKGROUND

¶13 Seltzer is, among other things, a professional appraiser and authenticator of Western American artwork (‘Western art”). In late 2000 or early 2001, at the request of an art auction house, he rendered his opinion as to the authenticity of a watercolor painting that Morton owned. Morton subsequently demanded that Seltzer recant his opinion. When he refused to do so, GDC filed a multi-count lawsuit against Seltzer. That lawsuit, which was eventually dismissed with prejudice, is the subject of this litigation.

¶14 Morton’s painting, which was at the center of the underlying suit against Seltzer, bears a signature indicating that it is the work of Charles M. Russell (“Russell”). However, Seltzer and a number of other art experts believe the painting is actually the work of Seltzer’s grandfather, Olaf Carl Seltzer (“O. C. Seltzer”).

¶15 Russell and O. C. Seltzer were renowned Western artists who *230 were contemporaries and friends. They both lived and produced Western art in the area of Great Falls, Montana, beginning in the late 1890’s. 1 O. C. Seltzer was a protégé of Russell and they both painted similar types of old west cowboy scenes common in Montana. However, they had distinctly different painting styles and color palettes. O. C. Seltzer’s work generally manifested more distinct lines and detail and a more subtle use of color. In contrast, Russell’s work generally manifested a more vivid use of color and less distinct, suggested, lines and detail. These differences are often most notable by comparison of the sage brush and the motion of the figures depicted. Although both Russell and O. C. Seltzer are recognized as fine Western artists, Russell’s work is more widely known and significantly more valuable.

¶16 Morton’s painting, which is known as “Lassoing a Longhorn,” depicts action and figures similar to that of other works by both Russell and O. C. Seltzer. Specifically, it depicts two cowboys, mounted on horseback, roping a longhorn steer. This action takes place on open prairie land against the backdrop of a distant cattle herd and another cowboy approaching on horseback. The steer, bearing a brand in the middle of its left side, is positioned near the center of the painting. The two cowboys featured in the foreground are positioned to the left and right of the steer. The cowboy to the left has secured a rope around the steer’s horns, while the cowboy to the right is in the process of throwing a large loop towards the steer’s hind feet. The overall color scheme is generally subtle, while the lines and details therein are generally distinct. In its lower left corner, the painting bears a signature, a bison skull marking, and a date, all in heavy black ink, purporting that the painting is a 1913 work by Russell. The signature style is similar to that used by Russell in 1913. Additionally, a bison skull insignia resembling that in the painting is a hallmark accompaniment to Russell’s signatures. The painting currently measures I6V2 by 22% inches.

¶17 There is no record or known information regarding the painting 5 s origin, ownership, or whereabouts from 1913 to 1939. In November of 1939, the Newhouse Galleries in New York, New York, sold the painting to Amon Carter of Fort Worth Texas. The Amon Carter Museum’s records listed the dimensions of the painting in 1939 as 20% by 26% inches-approximately 4 inches wider and 4 inches longer than the current dimensions of the painting. These same dimensions were *231 cited in a 1966 book, discussed below, which catalogued the Museum’s collection of Russell works. There is no evidence that the Amon Carter Museum ever authenticated or obtained independent authentication of the painting as a work of Russell.

¶18 In February of 1972, the Amon Carter Museum sold the painting to the Kennedy Galleries of New York, New York. In March of 1972, the Kennedy Quarterly, a publication featuring Western art then owned by the Kennedy Galleries, featured a print of the painting and listed its dimensions as I6V2 by 22% inches-the same as the current dimensions. There is no evidence that the Kennedy Galleries ever authenticated or obtained independent authentication of the painting as a work of Russell.

¶19 Morton and his brother, Frank, purchased the painting from the Kennedy Galleries in May of1972 for $38,000.00.

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Bluebook (online)
2007 MT 62, 154 P.3d 561, 336 Mont. 225, 2007 Mont. LEXIS 98, Counsel Stack Legal Research, https://law.counselstack.com/opinion/seltzer-v-morton-mont-2007.