United States v. Portrait of Wally

105 F. Supp. 2d 288, 2000 U.S. Dist. LEXIS 10029, 2000 WL 1006255
CourtDistrict Court, S.D. New York
DecidedJuly 19, 2000
Docket99 CIV. 9940 (MBM)
StatusPublished
Cited by4 cases

This text of 105 F. Supp. 2d 288 (United States v. Portrait of Wally) 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
United States v. Portrait of Wally, 105 F. Supp. 2d 288, 2000 U.S. Dist. LEXIS 10029, 2000 WL 1006255 (S.D.N.Y. 2000).

Opinion

OPINION and ORDER

MUKASEY, District Judge.

Defendant in rem Portrait of Wally, a painting by Egon Schiele (“the painting”), was brought into the United States to be shown at the Museum of Modern Art (“MoMA”), on loan from an Austrian museum, Leopold Museum-Privatsiftung (“the Leopold”). The United States claims that the painting is stolen, and seeks its forfeiture under 19 U.S.C. § 1595a(c) (1994) and 22 U.S.C. § 401(a) (1994). The Leopold moves to dismiss the complaint pursuant to Fed.R.Civ.P. 12(b)(1) and 12(b)(6). For the reasons stated below, I find that under controlling law, the painting can not be considered stolen. Accordingly, the Leopold’s Rule 12(b)(6) motion is granted. 1

I.

For the purpose of deciding the Leopold’s motion to dismiss, the material facts alleged in the complaint are taken as true. See Cooper v. Pate, 378 U.S. 546, 546, 84 S.Ct. 1733, 12 L.Ed.2d 1030 (1964) {per curiam). In March 1938, Germany annexed Austria, and the property of many Austrian Jews was “aryanized” — confiscated and given to “aryans.” (Comply 5(b)) 2 In that year, and as part of the aryanization program, an art gallery owned by Lea Bondi Jaray, a Viennese Jew, was confiscated and given to Friedrich Welz. {Id. ¶¶ 5(b))

In 1939, Welz joined the Nazi party and visited Jaray at her apartment. {Id. ¶¶ 5(e)-(d)) He saw the painting hanging on a wall, and “insisted” that the 1938 aryanization of Jaray’s gallery entitled him to it. {Id. ¶ 5(d)) Jaray responded that the painting was part of her private collection and had nothing to do with the gallery, but “Welz continued to pressure [her] for the painting. [Jaray’s] husband finally told her that, as they wanted to leave Austria, perhaps as soon as the next day, she should not resist Welz because ‘y°u know what he [Welz] can do.’” {Id.) (third bracket in the complaint) Jaray then turned over the painting and fled to London. {Id. ¶¶ 5(d))

After World War II- ended, Welz was interned on suspicion of having committed war crimes. {Id. ¶ 5(g)) His possessions, including artwork, were seized and placed under the authority of the United States Forces in Austria. {Id.) With respect to “art restitution,” the U.S. Forces were charged with sorting the paintings of imprisoned suspects and returning them to the countries from which they had been *290 taken “in order for those countries to return them to their rightful owners.” (Id.) The U.S. Forces holding the property recovered from Welz erroneously listed the painting as having belonged to one Heinrich Rieger, and placed it in his collection. (Id. ¶ 5(h))

That collection was then distributed to Rieger’s heirs, who sold some artworks, including the painting, to the Ósterreich-ische Galerie Belvedere (“the Belvedere”), the Austrian National Gallery. (Id. ¶ 5(m)) In 1954, Rudolph Leopold acquired the painting from the Belvedere, and in 1994 he sold it to the Leopold. (Id. ¶¶ 5(r), (aa))

In 1997, the Leopold sent the painting from Austria to New York, where it was displayed at a MolVLA exhibit from October 8, 1997 to January 4, 1998. (Id. ¶ 5(bb)) Three days after the exhibit ended, the New York County District Attorney’s Office issued a subpoena for the painting; on September 21, 1999, that subpoena was quashed by the New York Court of Appeals. 3 See In the Matter of the Grand Jury Subpoena Duces Tecum Served on Museum of Modem Art, 93 N.Y.2d 729, 697 N.Y.S.2d 538, 719 N.E.2d 897 (1999).

That day, United States Magistrate Judge James C. Francis TV issued a seizure warrant for the painting, and the next day the United States started this forfeiture action. (Compl. Ex. A; Dkt. No. 1) Under the statutes cited in the complaint, goods must be forfeited if they were brought into the United States illegally, or if they are to be removed from the United States illegally. See 19 U.S.C. § 1595a(c); 22 U.S.C. § 401(a). The government claims that the painting is stolen and that therefore it was imported, and would be exported, in violation of the National Stolen Property Act, 18 U.S.C. § 2314 (1994) (“ § 2314”), which prohibits transporting stolen goods in foreign commerce.

II.

Under the common law, “one cannot be convicted of receiving stolen goods if, before the stolen goods reached the receiver, the goods had been recovered by their owner or his agent, including the police.” United States v. Muzii, 676 F.2d 919, 923 (2d Cir.1982). This doctrine (“the doctrine”) is well-established federal law; federal courts routinely apply it in cases involving federal statutes that prohibit the receipt or transportation of stolen goods without inquiring into whether the doctrine is part of the relevant body of local law, as they would have to do if local law controlled this issue. 4 See, e.g., United States v. Golomb, 811 F.2d 787, 792 (2d Cir.1987) (18 U.S.C. § 641); Muzii, 676 F.2d at 923 (18 U.S.C. § 659); United States v. Dove, 629 F.2d 325 (4th Cir.1980) (§ 2314); United States v. Egger, 470 F.2d 1179, 1181 (9th Cir.1972) (18 U.S.C. § 2113(c)); United States v. Cawley, 255 F.2d 338, 340 (3d Cir.1958) (18 U.S.C. § 1708).

Relying on the doctrine, the Leopold argues that even if the painting was stolen by Welz in 1939, it “ceased being stolen when it was recovered by the United States Forces.” Accordingly, the Leopold

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105 F. Supp. 2d 288, 2000 U.S. Dist. LEXIS 10029, 2000 WL 1006255, Counsel Stack Legal Research, https://law.counselstack.com/opinion/united-states-v-portrait-of-wally-nysd-2000.