Massive Restitution Auction


Carl Vogel of the New York Times discusses the planned 3-stage auction of a portion of a group of 170 old master paintings recently returned to the heirs of Jacques Goudstikker. Over at the ArtLaw blog, Donn Zaretsky has more.

Goudstikker was a prominent art dealer who quickly fled Amsterdam in 1940. His successors, Mrs. von Saher and her two daughters, all currently Connecticut residents, are planning an international exhibition of many of the works, including some which will not be part of the auction. Last year’s settlement with the Dutch government marked the culmination of an 8-year legal battle. The three auctions will be in April in New York, in July in London, and finally in November in Amsterdam. One work which could fetch between $3-5 million is this painting, Ferry Boat With Cattle on the River Vecht Near Nijenrode by Salomon van Ruysdael.

One of the heirs, Charlene von Saher said the traveling exhibition would reveal to the world “a historical injustice put right.” Certainly, Goudstikker lost his collection of art, and the restitution may be correcting a historical wrong. Make no mistake though, the 3 heirs of Goudstikker, their legal counsel, and Christie’s all stand to make a great deal of money. Money is at the heart of restitution, not righting historical wrongs. Consider the recent decision of a Dutch court to award Roelof van Holthe tot Echteen, a lawyer for the 3 heirs, a $10.4 million bank guarantee for his services in working for the restitution.

I notice that in the US, Lawrence Kaye represents von Saher and her two daughters in the dispute. Kaye, along with Howard Spiegler operate a prominent art restitution practice in New York. The two have become celebrities of sorts. I was contacted a couple of weeks ago by Kelly Crow of the Wall Street Journal regarding the reputation of the two in the legal and scholarly community. I’m afraid I was not able to offer her too much for her story. The two have published quite a bit, and have been part of some of the most important art and antiquities cases in recent years. If you want to initiate a restitution action, they are the lawyers to call.

However, I don’t really think that the law looks at individuals as champions of a cause. They are partisan representatives for their client. Their duty is to advocate zealously for their client. Sometimes this might put them on the right side, others it may put them in more objectionable territory. Perhaps it is just my view on this, but I do not consider them “heroes” as such. That said, I would jump at the chance to join their restitution practice after I complete my thesis.

I am of two minds about restitution litigation. On the one hand, I think we should certainly endorse a practice which remedies past historical injustices, and Nazi spoliation is certainly a grave injustice. However, restitution is not always a positive development. I discussed the Schiele litigation earlier this week, which is a very sad situation. Also, these works were displayed at museums in Amsterdam accessible to the public. Is there not a value in having the works displayed there? Also, what is the rationale for returning works from WWII, but not earlier conflicts. Why should the Louvre not be emptied of all the works looted by Napoleon?

Questions or Comments? Email me at derek.fincham@gmail.com

No renvoi in Iran v. Berend (UPDATE)

The opinion in Iran v. Berend [2007] EWHC 132 (QB) has been released.

The dispute involved a fragment of an Achaemenid limestone relief from the city of Persepolis. This image, which I took from an organization called Cultural Heritage News, compares Berend’s limestone, with the site in Persepolis. It makes for pretty damning evidence. The Cultural Heritage News agency is operated out of Iran, and I’m not sure where they get their funding, and their articles on this dispute strike me as a bit one-sided. Nevertheless, they did provide a good background to the dispute.

Denyse Berend purchased the limestone fragment in 1974. As the opinion states, “It was sold to her through an agent at a New York auction in October 1974.” The object has been on display in Berend’s Paris apartment since the purchase. Iran brought suit against Berend when she tried to sell it at an auction at Christie’s London in 2005.

The dispute ultimately came down to which nation’s law should apply to the dispute, France or Iran. Under Iranian law, the object would be returned, but under French law, the 30 year statute of limitations period had elapsed, and Berend would have clear title. Two conflicting private international law principles were at play here. First, is the lex situs doctrine which holds that the law of the location of the object at the time of the transaction should apply. Under that rule, French law would apply.

Iran wanted Justice Eady to apply the rule of renvoi, which would have dictated that Iranian law would apply. The renvoi choice of law principle occurs whenever a court is called upon to interpret the law of another nation. It has been applied to wills and some family law, though never to movable objects.

No English court has applied renvoi to movables, and it seams Justice Eady was reluctant to do the same in this case. According to Wikipedia, a recent Australian High court decision applied the rule in Neilson v Overseas Projects Corporation of Victoria Ltd [2005] HCA 54 (29 September 2005). In that case, the Australian High Court applied the rule in a tort case. The plaintiff injured herself in an apartment in China. The apartment was overseen by her husband’s employer, an Australian company. The court applied the law of Australia, because both parties to the suit were Australian. Applying the Australian court’s logic to this case, it doesn’t seem likely that the principle of renvoi would be applicable, and even in the Australian case, there seems to be a great deal of criticism of the decision.

Eady was understandably reluctant to go out on a limb and apply the principle in this case. As he said, “English law has held for many years, in order partly to achieve consistency and certainty, that where movble property is concerned title should be determined by the lex situs of the property at the time when the disputed title is said to have been acquired.”

I wonder if Iran may choose to appeal the decision. In any event, though the limestone relief seems to have clearly come from Persepolis, Iran has no legal right to the object under English law. On a side note, there may be damages stemming from the grant of the original injunction against Berend’s attempted auction of the object at Christies in London. One wonders why Iran did not pursue its claims in 1974, when the object was first sold. I wonder as well whether the 2005 auction had taken place in Christie’s New York, rather than London, if the more generous statute of limitations provision would have allowed for a much different result.

UPDATE:

Over at the Journal of Private International Law’s blog, conflictoflaws.net, Martin George has gone into some more detail on the choice of law implications at play in the decision. He rightly points out that an English court adopting a renvoi rule for movable property would have caused a lot of headaches. However, he misses the cultural policy implications: the limestone relief was almost certainly taken from Persepolis. The relief came from what is essentially the Persian Acropolis. In the event the ruling stands (which seems most likely) look for Iran to press for the return of the relief based on ethical principles. In any event, the potential sum the relief may bring at an auction seem quite diminished. I wonder if Berend and Iran may try to work out some kind of a settlement. It seems likely that quite a few potential purchasers have been scared away by the Iranian claims.

Postscript:

I have noticed a lot of folks are still interested in this case. For a much better and complex account of the decision you can download my case note published by the International Journal of Cultural Property here.

Questions or Comments? Email me at derek.fincham@gmail.com

$491 million


Christie’s yesterday shattered the previous auction record with its sale of post-impressionist works the New York Times reports today. The previous record was $269 million. Of the sale, about $125 million involved the sale of recently repatriated works which were looted by the Nazies during World War II. Before the sale, five of them were hanging in museums.

Christie’s does a good job of making these auctions a spectacle. I’ve never seen one firsthand, but they must be quite a show. Perhaps the most interesting aspect is the way many of the buyers are secret. We may never know who purchased some of these works. Certainly, we cannot argue that the heirs of holocaust victims are entitled to the return of works that was taken from them during the war. However, looking at the end result, are we all better off having these Klimt’s in a wialthy benefactor’s living room? I don’t think so. In my view courts should do a better job of fashioning compromise between nations and claimants.

The image is by Hiroko Masuike, for the New York Times. Other images are available here.

Questions or Comments? Email me at derek.fincham@gmail.com

Picasso Pulled

The Picasso I discussed yesterday was removed from auction today, even after a Federal District Court Judge dismissed the claimant’s suit. Apparently he brought suit in NY State Court today. At first blush, I don’t think he has much of a case. We will see how accommodating the NY courts will be though, I suppose.

Questions or Comments? Email me at derek.fincham@gmail.com

Sale of Picasso’s "The Absinthe Drinker" may be halted

Christie’s may have a difficult time breaking the single-auction record today. The Art Newspaper reports the auction house is considering removing the work from the sale. Andrew Lloyd Webber was attempting to sell the work, estimated at $60 million, with the proceeds going to charity. The work, from Picasso’s blue period, was also the subject of a Federal District Court Case, dismissed yesterday.

The dismissal has not been published yet on Lexis, but the New York Times has an overview of the claimant’s case. Judge Jed Rakoff dismissed the claims because the federal law dealing with Holocaust restitution was inapplicable in this case. I’m not an expert on holocaust litigation, so I’m not sure which law the NYT is talking about. Apparently, the claimant has a case in New York state court however.

The claims seem tenuous to me at first blush. The plaintiff, Mr. Schoeps, is the heir of Paul von Mendelssohn-Barthold, a wealthy Berlin banker and art collector. He was forced to sell all his paintings as a result of Nazi persecution. The Nazi’s didn’t actually take the painting, but they seized his assets so that he had no choice but to sell the work. The ruling was just issued yesterday. I’ll try to get my hands on the dismissal and look at the substance of the claims. To me, though, it seems like the claimant will have a very difficult time winning the case. We shouldn’t underestimate the underlying equities of a case either, Lloyd Webber was selling the work in order to donate the proceeds to charity. Though Mr. Schoeps story is indeed a tragic one, I’m not sure he will be using the work, or its proceeds, in as charitable a manner.

Questions or Comments? Email me at derek.fincham@gmail.com

Record Auction For Christie’s New York?

An auction of Impressionist and other modern works in New York next month may become the most lucrative art auction ever, The Times Online reports. The November 8-9 auction could fetch $490 million. Four Klimts, including Adele Bloch-Bauer II (pictured here) are for sale, as well as a blue-period Picasso. The Times reports that the art market has not been this active since 1990.

The Klimts are from the Altmann collection, which was recovered from Austria last year after an arbitration ruling granted the heirs of Adele Bloch-Bauer the five pieces after a 7-year legal battle. The New York Times gives a background of the dispute in its story about another Bloch-Bauer portrait which fetched a record $135 million. When Germany annexed Austria in 1938, Bloch-Bauer fled, leaving all his possessions behind, and for the last 60 years, the works have hung in the Austrian National Gallery.

The legal dispute even reached the US Supreme Court, in Republic of Austria v. Altmann. That decision upheld lower court rulings which involved the 1976 Foreign Sovereign Immunities Act, which grants foreign nations immunity from suits in US courts. The Court upheld an exception of FSIA which allows suits when property has been taken in violation of international law.

The Klimts are exceptionally valuable, and certainly Mrs. Altmann has an excellent claim to the works. However, in terms of the general public, do these works belong in Austria, where they were commissioned? Or are they just as worthy of hanging in a museum in the US? The question is moot I suppose, because the works are Mrs. Altmann’s to dispose of as she pleases. But are the works Austrian in character, such that they can only be fully appreciated in Austria? I think not. These are the arguments some antiquities experts make though in support of the return of antiquities to their source nation. I guess I’m not really sure why the argument should be any different between art or antiquities.


Questions or Comments? Email me at derek.fincham@gmail.com