United States v. One Oil Painting Entitled "Femme en Blanc" by Picasso

362 F. Supp. 2d 1175, 2005 U.S. Dist. LEXIS 5977, 2005 WL 736705
CourtDistrict Court, C.D. California
DecidedMarch 31, 2005
DocketCV 04-8333FMCAJWX
StatusPublished
Cited by6 cases

This text of 362 F. Supp. 2d 1175 (United States v. One Oil Painting Entitled "Femme en Blanc" by Picasso) is published on Counsel Stack Legal Research, covering District Court, C.D. California primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

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United States v. One Oil Painting Entitled "Femme en Blanc" by Picasso, 362 F. Supp. 2d 1175, 2005 U.S. Dist. LEXIS 5977, 2005 WL 736705 (C.D. Cal. 2005).

Opinion

ORDER DENYING CLAIMANT’S MOTION TO DISMISS COMPLAINT FOR FORFEITURE AND ORDER DENYING CLAIMANT’S MOTION TO TRANSFER ORDER DENYING MOTION TO DISMISS CROSS-COMPLAINT OF THOMAS BEN-NIGSON

COOPER, District Judge.

This matter is before the Court on Claimant Marilynn Alsdorfs (“Alsdorf’) Motion to Dismiss Complaint for Forfeiture. or Alternatively to Transfer Case (docket no. 24), filed December 13, 2004, and Alsdorfs Motion to Dismiss Cross-Complaint (docket no. 31), filed January 20, 2005. The Court has read and considered the moving, opposition, reply, and sur-reply documents submitted in connection with this motion. Following oral argument on March 28, 2005, the Court took this matter under submission. For the reasons and in the manner set forth below, the Court hereby DENIES the motion to dismiss and to transfer. The Court DENIES the motion to dismiss the cross-complaint.

I. Background

This civil forfeiture action concerns an oil painting entitled “Femme en Blanc,” which was allegedly stolen from its owner by the Nazis during World War II. The following summary is based on the Government’s allegations.

The painting was created by Pablo Picasso in 1922. Complaint for Forfeiture (“Compl.”), at ¶ 4. In 1926 or 1927, Carlot-ta Landsberg or her husband bought the painting. Id. at ¶ 9. In 1938 or 1939, Mrs. Landsberg sent the painting to Paris art dealer Justin K. Thannhauser for safekeeping. Id. at ¶ 10. In August 1939, Thannhauser; fled Paris to escape Nazi persecution. Id. at ¶ 11. In 1940, the contents of Thannhauser’s home, including the painting, were looted by the Nazis. Id.

On June 12, 1958, Thannhauser -wrote to Mrs. Landsberg that, “[u]pon the occupation of Paris in 1940, when we were no longer in Paris and the house was closed, the entire contents of the four-story building-and with it your painting-were stolen.” Id. at ¶ 12. Thannhauser wrote that, “during the four day long violent German national socialist plundering everything was taken out of the four-story house during the night and in trucks” by the Nazis. Id. After the war, Mrs. Landsberg searched for the painting, but was unable to locate it.

In 1947, the painting was included, with a small photo, in an inventory of looted paintings compiled by the Allied Command. Id. at ¶ 15. In 1975, a French art dealer named Maurice Covo asked New York art dealer Stephen Hahn whether Hahn would be interested in buying the painting, which Covo stated he might be able to acquire. Id. at ¶ 16. After Covo acquired the painting on consignment, in June 1975, Hahn traveled to Paris, where he purchased it. Id. at ¶ 17. In September 1975, Hahn sold the painting to claimant Alsdorf. Id. at ¶¶ 18-19. Hahn later stated that Covo had not told him that the painting was a product of Nazi looting. Id. at ¶ 18.

In 2001, Alsdorf sent the painting to David Tunkl of David Tunkl Fine Art in Los Angeles, California, for an exhibition that took place between September 20, 2001 and October 28, 2001. Id. at ¶ 20. After the exhibition ended, Tunkl returned the painting to Alsdorf, who was and is living in Chicago. Id.

*1179 In January 2002, Tunkl suggested to Alsdorf that he could sell the painting for her. Id. at ¶ 21. The painting was shipped from Chicago to Geneva Switzerland, at Tunkl’s request. Id. In Geneva, the painting was viewed by Paris art dealer Didier Imbert, who was acting as an advisor to an unidentified European collector. As part of his due diligence, Imbert contacted the Art Loss Register (“ALR”) in London, England. Id. at 22.

Sarah Jackson, the Historic Claims Director of the ALR, investigated the provenance of the painting in Swiss, German, and French archives and advised Imbert that the painting had been looted by the Nazis during the war. Id. at ¶¶ 25-25.

On April 17, 2002, Imbert wrote to Adam Cirker of Cirker’s Fine Art in New York, advising him of the ALR’s finding and asking Cirker to notify the owner of the finding. Id. at ¶ 27. On April 25, 2002, the ARL advised Imbert and Tunkl that the painting had been confiscated by the Nazis from its Jewish owner during World War II. Id. at ¶ 28.

On May 2, 2002, Imbert told Alsdorf that the ALR had advised him that the painting had been confiscated by the Nazis from its Jewish owner during World War II. Id. at ¶ 30.

In June 2002, Jackson located Mrs. Landsberg’s sole heir in Berkeley, California, claimant Thomas C. Bennigson. Id. at ¶ 33.

On June 7, 2002, Jackson advised Als-dorfs attorney, Stephen Bernard, that the painting had been confiscated by the Nazis during World War II and that the ALR had “extensive documentation” from three countries showing the confiscation of the painting by the Nazis. Id. at 34.

In July 2002, Jackson flew to Los Ange-les and told Bernard and Tunkl at a lunch meeting that the painting had been looted by the Nazis from Thannhauser’s home, that Thannhauser had been holding it for its true owner, and that the owner’s grandson was her sole heir. Id. at ¶ 35. Jackson also presented Bernard and Tunkl with many documents uncovered from archives showing that the painting had been “looted” by the Nazis. Id. These documents were later sent to Alsdorf in Chicago. Id. at ¶ 36.

On December 13, 2002, Alsdorf instructed Bernard and Tunkl to transport the painting from Los Angeles back to Chicago. Id. That same day, Alsdorf also telephoned Tunkl’s assistant, Michele Burt, and instructed her to send the painting to her in Chicago. Id. at ¶ 44.

On December 19, 2002, Benngison filed suit against Alsdorf in California Superior Court, Los Angeles County, and notified counsel for Alsdorf. Id. at ¶ 48. On December 20, 2002, the painting was transported to Chicago. Id. at ¶ 49. On June 16, 2003, the Superior Court found that it lacked personal jurisdiction over Alsdorf and granted her Motion to Quash the Summons. The California Court of Appeal affirmed the Superior Court’s Order on April 15, 2004. The California Supreme Court accepted review of this decision on July 28, 2004, and the parties are currently awaiting a decision.

On September 10, 2004, Alsdorf filed a federal quiet title action pursuant to 28 U.S.C. § 1655 against Bennigson in Chicago (“Illinois action”). Id. at ¶ 50. No process has been served on the painting in that action. The docket sheet for that action reveals that the complaint was filed, and a stay was entered pending the decision of the California Supreme Court. No other action has been taken.

On October 6, 2004, the government filed this action for civil forfeiture pursuant to 18 U.S.C. §§ 981(a)(1)(C)

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