Struna v. Leonardi

CourtDistrict Court, S.D. New York
DecidedSeptember 7, 2022
Docket1:21-cv-06040
StatusUnknown

This text of Struna v. Leonardi (Struna v. Leonardi) is published on Counsel Stack Legal Research, covering District Court, S.D. New York primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Struna v. Leonardi, (S.D.N.Y. 2022).

Opinion

UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK -----------------------------------------------------------x WILLIAM STRUNA, Plaintiff, 21-cv-6040 (PKC) -against- OPINION AND ORDER ANNA MARIA ZONI (LEONARDI), individually; ANTONIO LEONARDO, as heir and fiduciary of the Decedent Renzo Leonardi; and ALESSANDRA LEONARDI, as heir and fiduciary of the Decedent Renzo Leonardi,

Defendants.

-----------------------------------------------------------x

CASTEL, U.S.D.J.

Plaintiff William Struna (“Struna”), the former owner of a valuable bronze Picasso sculpture called Head of a Woman (Fernande) (the “Sculpture”), alleges that he was fraudulently induced into selling the Sculpture to decedent Renzo Leonardi (“Renzo”), whom he had engaged to authenticate the Sculpture as an authentic and original work by Picasso,1 sell the sculpture on his behalf and split in half with him the proceeds of any such sale. Struna alleges that Renzo, who already knew that the Sculpture was an original, instead of fulfilling his duties to Struna, schemed with the help of Renzo’s wife, defendant Anna Maria Zoni (Leonardi) (“Anna Maria”), to buy the Sculpture from Struna at a steep discount by concealing that Renzo

1 The TAC does not formally define the distinction between an “authentic” sculpture and an “original” sculpture. For example, the TAC mentions that “there are twenty (20) known authentic original Fernande bronze sculptures, plus nine (9) additional commissioned authentic sculptures made in the 1960’s.” (TAC ¶ 18.) For the purposes of this motion, the Court will assume that the two are used interchangeably as to the Sculpture formerly owned by Struna—that “authentication” of the Sculpture proves that the Sculpture is both an authentic Picasso work and that it is an original Picasso work, “derived directly from the plaster modeled by Picasso,” as opposed to a “surmoulage.” (TAC ¶ 32) which is a piece fraudulently made from a casting of a sculpture. and his wife were the true buyers and falsely telling Struna that the Sculpture was likely not an authentic Picasso. According to Struna, Renzo and Anna Maria then obtained documentation authenticating the Sculpture as an original Picasso and flipped the Sculpture a few years later at a private auction brokered by Sotheby’s in London for a profit of approximately $22 million.2 (TAC ¶¶ 3-6, 8, 80.) Struna alleges that Renzo died just a couple of months after the Sculpture

was sold at the private auction and defendants Antonio Leonardi (“Antonio”) and Alessandra Leonardi (“Alessandra”) became Renzo’s heirs and fiduciaries. Invoking diversity jurisdiction, Struna now brings claims against Anna Maria, Antonio and Alessandra.3 As to only Anna Maria, Struna brings claims for aiding and abetting fraud and breach of fiduciary duty. As to only Antonio and Alessandra, Struna brings claims for fraud, breach of fiduciary duty, breach of the implied covenant of good faith and fair dealing and negligent misrepresentation. As to all three defendants, Struna brings a claim for unjust enrichment. The defendants move to dismiss Struna’s claims for lack of personal jurisdiction under Rule 12(b)(2), Fed. R. Civ. P., or alternatively, for failure to state a claim upon which

relief can be granted under Rule 12(b)(6), Fed. R. Civ. P. For reasons to be explained, the Court concludes that there is no basis to exercise personal jurisdiction over the defendants. The defendants’ motion to dismiss for lack of personal jurisdiction will be granted. Struna’s request for jurisdictional discovery as to Anna Maria will be denied.

2 The TAC is inconsistent as to the amount paid to purchase the Sculpture from Struna. At certain points, the TAC claims that Renzo and Anna Maria bought the Sculpture from Struna for $1 million, while claiming elsewhere that the purchase price was $2 million. (See, e.g., TAC ¶ 5, 80.) The TAC is clear as to the auction price, however, of $24 million. (TAC ¶ 61.) 3 Struna claims to be a citizen of both New York and West Virginia. (TAC ¶ 14.) An individual may be a domiciliary—a citizen—of only one state. Palazzo ex rel. Delmage v. Corio, 232 F.3d 38, 42 (2d Cir. 2000) (“At any given time, a person has but one domicile.”). The Court need not determine whether Struna’s true citizenship is New York or West Virginia because there is no claim that he is an alien, and all three defendants are alleged to be citizens of Italy. BACKGROUND In adjudicating the motions to dismiss for lack of personal jurisdiction under Rule 12(b)(2), Fed. R. Civ. P., and for failure to state a plausible claim for relief under Rule 12(b)(6), Fed. R. Civ. P., the Court accepts the factual allegations described below as true and the Court draws all reasonable inferences in favor of the plaintiffs as the non-movants. See Dorchester

Fin. Sec., Inc. v. Banco BRJ, S.A., 722 F.3d 81, 85 (2d Cir. 2013) (per curiam) (Rule 12(b)(2)); In re Hain Celestial Grp., Inc. Sec. Litig., 20 F.4th 131, 133 (2d Cir. 2021) (Rule 12(b)(6)). I. Struna’s Introduction to Renzo As alleged in the TAC, Struna acquired the Sculpture in the early 1980s from an individual named James St. Lawrence O’Toole. The Sculpture, however, was not accompanied by any documents proving it to be an authentic and original work by Pablo Picasso. (TAC ¶ 19.) Almost two decades later, around 2003, Struna was introduced to Renzo Leonardi, a professor of physics at the University of Trento and a founder of the European Centre for Theoretical Studies in Nuclear Physics and Related Areas, based in Trento, Italy. (TAC ¶ 20.) During their

discussions, Renzo represented to Struna that he had studied the technical aspects of the Fernande sculpture—there are at least twenty authentic and original Fernande sculptures around the world (TAC ¶ 18)—and that he had collaborated with “Dr. Derek Pullen, the Chief Sculpture Conservator at the Tate,” a famous British art institution. (TAC ¶ 21.) Specifically, Renzo claimed to Struna that he had developed equipment that, through laser measurements, could conclusively ascertain whether a sculpture was authentic or not. (TAC ¶ 22.) Struna alleges that during subsequent conversations with Struna, Renzo repeatedly held himself out as an expert in the authentication of artworks generally, and in particular, of Fernande sculptures. (TAC ¶ 23.) In these discussions, Renzo allegedly also offered his services to Struna to assist in the authentication and sale of the Sculpture, and from around 2004 to 2009, Renzo had numerous phone conversations with Struna about the prospect of obtaining a certificate of authentication from the Picasso Administration4 and selling the Sculpture to a third party. (TAC ¶ 25.) According to Struna, Renzo equivocated on multiple occasions during this period on whether the Sculpture was authentic, and on whether the Picasso

Administration would issue a certificate of authentication as to the Sculpture. (TAC ¶ 26.) For example, in one email sent around April 11, 2009, Renzo allegedly stated that it was “important [that he] play the role of the interface” with the Picasso Administration because there was a risk that the “bronze [would] not [be] recognized as authentic” and that the Picasso Administration “could even have the right to confiscate it as a fake if declared as such!” (TAC ¶ 27 (alterations in original).) (See also TAC ¶¶ 28, 29.) II. Renzo and Anna Maria’s Alleged Scheme Struna claims that by early 2013, Renzo began to cast further doubt on as to both the authenticity of Struna’s Sculpture and the chances that it would be authenticated by the

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Struna v. Leonardi, Counsel Stack Legal Research, https://law.counselstack.com/opinion/struna-v-leonardi-nysd-2022.