New U.S. and California Laws Trigger Fresh Lawsuits Over Nazi-Looted Art in Pasadena and Auschwitz

Key points

• The Jewish Federation of Greater Los Angeles sued the Norton Simon Museum for the return of 'Adam and Eve,' a diptych by Lucas Cranach the Elder, claiming it was looted from Dutch dealer Jacques Goudstikker by Hermann Göring.
• Daughters of Holocaust survivor Dina Gottliebova Babbitt sued the Auschwitz-Birkenau Memorial for seven watercolors their mother was forced to paint of Roma prisoners under the coercion of Nazi physician Josef Mengele.
• California Assembly Bill 2867, signed in 2024, and the federal Holocaust Expropriated Art Recovery Act of 2025, signed by President Trump, removed time limits and statutory bars that previously hindered such claims.
• The Norton Simon Museum cites a 2018 federal ruling and a 2019 Supreme Court decision confirming its title to the Cranach paintings, while the Auschwitz Memorial argues the watercolors are historical documents of Mengele’s crimes, not looted property.
• The Jewish Federation plans to use proceeds from any recovered art to support approximately 2,500 Holocaust survivors in the Los Angeles area living in poverty.

Background

These lawsuits follow a broader trend of restitution efforts, including a recent Argentine court order returning a looted portrait to the heir of Jacques Goudstikker. The new legislation was partly inspired by the ongoing dispute over a Camille Pissarro painting held by the Thyssen-Bornemisza Museum in Madrid, a case involving the Cassirer family that is expected to be heard in federal court in California next month.

How outlets are covering it

The Los Angeles Times emphasizes the bipartisan nature of the new federal and state laws, highlighting how they provide a 'fair shot' for families to recover art, while noting the museums' defense of their titles. NBC Los Angeles focuses on the emotional and ethical dimensions, contrasting the museums' desire to preserve history with the families' need for justice and financial support for survivors. Both outlets agree that the new laws have invalidated previous legal defenses, but they differ in emphasis: the Times details the specific legislative mechanisms and the Pissarro case as a catalyst, while NBC highlights the humanitarian impact of potential restitution proceeds on local survivors.

Why it matters

The new laws fundamentally alter the legal landscape for art restitution in the United States, removing expiration dates and allowing claims to be heard on their merits. This could lead to a wave of similar lawsuits against major museums worldwide, potentially reshaping collections and forcing institutions to re-evaluate the provenance of their holdings. The outcome of these cases will set precedents for how historical trauma and property rights are balanced in the context of wartime looting.

What to watch

A hearing regarding the related Pissarro case is scheduled for next month in federal court. The Norton Simon Museum and the Auschwitz Memorial are expected to respond to the new lawsuits, potentially leading to further litigation or negotiations. Advocates for restitution anticipate that the success or failure of these cases will influence other pending claims across the U.S. and internationally.