United States v. DeSimone

488 F.3d 561, 73 Fed. R. Serv. 878, 99 A.F.T.R.2d (RIA) 3236, 2007 U.S. App. LEXIS 13157, 2007 WL 1633556
CourtCourt of Appeals for the First Circuit
DecidedJune 7, 2007
Docket05-2314
StatusPublished
Cited by17 cases

This text of 488 F.3d 561 (United States v. DeSimone) is published on Counsel Stack Legal Research, covering Court of Appeals for the First Circuit primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
United States v. DeSimone, 488 F.3d 561, 73 Fed. R. Serv. 878, 99 A.F.T.R.2d (RIA) 3236, 2007 U.S. App. LEXIS 13157, 2007 WL 1633556 (1st Cir. 2007).

Opinion

CAMPBELL, Senior Circuit Judge.

Defendant-appellant Rocco DeSimone appeals from his conviction after a jury trial for filing a false tax return, in violation of 26 U.S.C. § 7206(1). He contends that the district court committed prejudicial errors in excluding and admitting evidence at his trial. We affirm DeSimone’s conviction.

Background and Facts

On August 18, 2004, a federal grand jury returned an indictment charging DeSi-mone with wire fraud, in violation of 18 U.S.C. § 1343 (counts 1 and 2), and making and subscribing a false tax return, in violation of 26 U.S.C. § 7206(1) (count 3). At the ensuing trial, the jury acquitted him of wire fraud but found him guilty on the false tax return count. The latter alleged that the false return “reported long term capital gains in the amount of $1,000,000, on Schedule D, Part II, line item 16, whereas [DeSimone] then and there well knew and believed that he had not earned such long term capital gains but had, instead, earned ordinary income substantially in addition to the amount reported, all in violation of 26 U.S.C. § 7206(1).”

The evidence at trial included the following. DeSimone was an art broker. A mutual friend had introduced DeSimone to Janet Salz, an art dealer. She agreed to let DeSimone sell two of her paintings— “Canal at Zaandam” by Claude Monet and *564 “Les Mouettes” by Henri Matisse. According to her testimony, she told DeSi-mone she wanted to sell the Monet for $3 million and would give DeSimone a ten percent commission. While he was looking for a buyer, DeSimone kept Salz’s two paintings at his house. Although Salz could not identify precisely when she handed DeSimone the paintings, she testified to doing so “not long” before the sale and “not more than a year.”

DeSimone found a buyer for Salz’s two paintings, .as well as for a third painting he had been asked to sell by another owner— “Jeune Filie Blonde” by Pierre Auguste Renoir. James Dorcey introduced the buyer, his neighbor Michael Joyce, to De-Simone, and the three men met at DeSi-mone’s house in August 1999 to view the paintings and negotiate a deal. There was evidence DeSimone originally told Joyce that he was selling the Monet for $5.5-6 million and the Renoir for $3.8-3.9 million, but that he could arrange a lower price if Joyce bought all three paintings. Joyce agreed to do so, and DeSimone reduced the asking price of the Monet to $4.65 million and the Renoir to $3 million. Including the Matisse, the package totaled $8.3 million.

According to Salz, DeSimone contacted her and told her that his buyer would pay only $2.7 million for the Monet, and she agreed to sell it at that price. Regarding DeSimone’s commission, Salz testified that DeSimone told her that “he wasn’t going to take any money, because he didn’t give me enough money.” 1

Joyce first wired a down-payment of $430,000 to the client escrow account maintained by Richard Corley, DeSimone’s attorney, and subsequently wired to Corley’s same account the second payment of $7,870,000. On DeSimone’s instructions, attorney Corley paid Salz $2.7 million for the Monet and $450,000 for the Matisse. Corley also disbursed funds to the owner of the Renoir, to another art broker as a commission for the sale of the Renoir and the Matisse, and to Dorcey. Other checks written from the Joyce deposits in Corley’s escrow account included a total of $1,109,000 to DeSimone, a payment of $10,000 to Corley for his fees, and a payment of $658,000 to one Allen Williams to settle a lawsuit that Williams had brought against DeSimone and another man, alleging, inter alia, fraud in connection with an unrelated art transaction. DeSimone signed over one of the checks that Corley had written to him for $35,000 to Donald Morin as partial payment towards the settlement of another lawsuit that arose from DeSimone’s sale of two Ferrari automobiles to Morin.

According to IRS agent Robert Ferraro, who testified extensively at trial, DeSi-mone’s net profit was $1,767,000, after deducting certain offsetting expenses but without deducting the $658,000 payment to Williams. Contrary to the defense’s suggestion, the agent did not believe the Williams settlement could properly be deducted as a business expense for tax purposes from DeSimone’s income. . According to Ferraro’s testimony, DeSimone’s return should have reported a net profit from the sale of the paintings of *565 $1,767,000 and should have resulted in an additional tax payment of $422,832.

DeSimone’s accountant for about seventeen years was one Michael Corrado. Corrado prepared DeSimone’s tax returns based on records that DeSimone turned over to him. These records included bank statements, check stubs, and “one-write” checkbook sheets, which recorded cash receipts and disbursements. Over the years, Corrado had discussed income classifications with DeSimone, who understood the difference between ordinary income earned from his self-employment, which was to be reported on Schedule C .of a federal income tax return, and capital gains, which were to be reported on Schedule D, as well as the classification and implications of short-term versus long-term capital gains.

Some time before October 12, 2000, Corrado and DeSimone discussed the sale of “some paintings,” and, according to Corrado, DeSimone told him that he expected to earn “[o]ne million dollars or better.” The two discussed the need to determine the “holding period for purposes of properly classifying the gain.” Corrado explained to DeSimone that the holding period determined which tax rates applied.

After obtaining two extensions for filing DeSimone’s 1999 tax return, Corrado finally received the pertinent information from DeSimone and reviewed the documents. The one-write checkbook revealed that DeSimone had received a $45,000 down-payment towards a “commission,” which Corrado reported on Schedule C as self-employment income. The same sheet also included an entry of the receipt of a down-payment of $1.1 million. Because the paperwork was unclear as to how to classify that income, Corrado telephoned DeSimone on October 12, 2000, and asked him about it. According to Corrado, DeSi-mone responded that he had sold three paintings from his collection “that he owned,” and, in response to Corrado’s question, stated that he had owned them for more than one year. During that same conversation, DeSimone told Corra-do that Dorcey was entitled to a $100,000 commission on “this painting,” which entitled DeSimone to a deduction on his capital gain.

Corrado then completed DeSimone’s tax return. He reported on Schedule D a $1.1 million long-term capital gain, offset by the $100,000 payment to Dorcey, based on the information that DeSimone had provided, and listed the acquisition date of the assets as August 1, 1998, which he supplied as an “arbitrarfy]” date on his own.

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Bluebook (online)
488 F.3d 561, 73 Fed. R. Serv. 878, 99 A.F.T.R.2d (RIA) 3236, 2007 U.S. App. LEXIS 13157, 2007 WL 1633556, Counsel Stack Legal Research, https://law.counselstack.com/opinion/united-states-v-desimone-ca1-2007.