United States v. Donald Austin

54 F.3d 394, 1995 WL 261507
CourtCourt of Appeals for the Seventh Circuit
DecidedJune 23, 1995
Docket94-2541
StatusPublished
Cited by35 cases

This text of 54 F.3d 394 (United States v. Donald Austin) 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
United States v. Donald Austin, 54 F.3d 394, 1995 WL 261507 (7th Cir. 1995).

Opinion

FLAUM, Circuit Judge.

Defendant Donald Austin was convicted and sentenced to 8^ years for knowingly buying and selling counterfeit works of art. Although we uphold his conviction, the denial of his motion for a new trial, and all but one of the trial court’s sentencing determinations, we remand for a reconsideration of whether Austin deserved a sentencing enhancement under the Guidelines for being an “organizer or leader.”

I.

Donald Austin owned and operated Austin Galleries, a chain of art galleries in Chicago, Detroit, and San Francisco. Austin, whose business grew from one Chicago gallery in the mid-1960s to over thirty galleries in the mid-1980s, was a “hands-on” manager who took an active interest in all facets of his business and in each of his galleries. Austin Galleries specialized in modern and contemporary artists, including Salvador Dali, Joan Miró, Pablo Picasso, and Marc Chagall, and sold mostly lithographic and serigraphic prints of their works. Although the individual galleries had prints on hand, many customers purchased prints on a “to-be-ordered” basis; a customer would see a copy in a gallery, and order the actual print from Austin’s headquarters in Palatine, Illinois.

Lithographic and serigraphic prints can be divided into three categories for the purposes of this opinion. 1 Lithographs and serigraphs are most valuable when they are part of an “original” limited edition print, a “category 1.” Art industry standards require that an original be prepared under the artist’s supervision. The artist signifies his acceptance of the edition by signing and numbering them. The artist may also reserve a small percentage of the edition for his own use or that of the publisher. Called “artist’s proofs,” such works are identified by the designation H.C., E.A., or A.P., usually in place of the edition number. 2 Less valuable than originals are “afters” or “category 2” prints. Afters are copies of an original work made by others with the artist’s permission; these copies have nominal value in the decorative art market. Finally, there are “category 3” prints: *398 unauthorized reproductions of an artist’s work (or independent works made to look like something the artist might have created), made without the artist’s involvement or approval. These works do not have an established market, and if they carry an artist’s signature, they are forgeries.

Austin sold most of his art as signed original limited edition prints. His customers thought they were buying originals. The customers were wrong; most of what Austin sold were forgeries. Several of Austin’s employees recalled that they never seemed to run out of any print and that there was never a time when a customer requesting a specific edition number was told that the number had been sold or was otherwise unavailable. Others noticed that a number of works they were selhng were obvious forgeries and brought this to Austin’s attention, to no avail. Two employees even tried removing what they thought were frauds from the walls of one gallery, but when Austin learned of this he merely became angry and ordered them to place the prints back on display.

Acting on complaints, the Federal Trade Commission (“FTC”) brought suit against Austin in May, 1988. A district court placed a temporary restraining order on Austin on May 5, 1988, restricting Austin’s sales of Dali, Picasso, and Chagall prints and permitting the FTC to enter Austin’s galleries to inspect his prints and documents. The inspection yielded widespread evidence of forgeries among Austin’s inventory and prior sales. One expert who examined 490 prints, including 387 in current inventory and 103 sold to customers, did not find a single authentic original. Records also revealed that Austin had been able to acquire prints in suspiciously large quantities, some quantities even exceeding the number in the actual edition of the print. The results of the investigation also raised concerns about the authenticity of Austin’s Miró prints, and the court, after the FTC amended its complaint, added Miró’s works to the list of those Austin could not sell.

Following the investigation, in April, 1990, Austin entered into a settlement agreement with the FTC. The agreement, as approved by the court, forbade Austin from making-misrepresentations in the sale of artwork. Austin also agreed to surrender all of his pencil-signed Mirós, Chagalls, and Picassos. Austin was allowed to sell Dalis so long as he did not represent them as authentic works of art. Additionally, the court ordered Austin to pay $625,000 into a consumer redress fund to be administered by the FTC, with the condition that if he did not pay the entire sum by January 1, 1991, or if he declared bankruptcy before that day, the amount would increase to $1.5 million. As a final part of the settlement, Austin signed a stipulation for judgment admitting the allegations of fraud contained in the complaint. The stipulation was to be filed only in the event Austin went into bankruptcy or defaulted on his payments to the FTC.

The FTC settlement failed to deter Austin. Austin did not turn over all of the Chagalls, Mirós, and Picassos as required. He also attempted to sell several Chagalls to one of his art suppliers, Michael Zabrin, and to sell to another supplier, Phillip Coffaro, a “package” of Chagalls and Mirós, although both men turned him down. Most significant, Austin sold nine Chagall prints to a customer, Merlin Hanson, for $50,000, with an option to repurchase within six months. Austin originally had requested only a loan from Hanson and had offered the prints as collateral, but Hanson’s financial advisor had insisted on the buy-back arrangement to avoid any losses should Austin enter bankruptcy. Austin represented the prints as having a value of $70,000 wholesale and $140,000 retail. Prior to the sale, which was made eleven days after the FTC settlement, an FTC expert had informed Austin’s attorney that at least one of the prints sold to Hanson was a fake.

Following these events, the government initiated criminal proceedings against Austin, and a grand jury indicted him on March 11, 1993. Counts I through VII of the indictment alleged violations of the mail and wire fraud statutes, 18 U.S.C. §§ 1341 & 1343, while Count VIII charged Austin with causing money he knew to have been taken by fraud to be transmitted in interstate commerce, 18 U.S.C. § 2314. The first five counts related to transactions prior to the *399 FTC proceeding, while the last three concerned the Hanson sale. In the course of its investigation, the grand jury subpoenaed Austin’s records for sales of Chagalls after 1988. In response, Austin did not turn over information regarding the Hanson sale; Austin testified at trial that he thought the sale was a loan and did not have to be reported.

The government, which relied heavily on the information produced by the FTC investigation, introduced at trial extensive evidence of fraud against Austin. A jury returned guilty verdicts against Austin on all counts, and the trial judge sentenced him to 102 months imprisonment to be followed by two years supervised release.

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Cite This Page — Counsel Stack

Bluebook (online)
54 F.3d 394, 1995 WL 261507, Counsel Stack Legal Research, https://law.counselstack.com/opinion/united-states-v-donald-austin-ca7-1995.