A landmark court ruling in New York has brought long-awaited justice to the heirs of a Jewish art dealer whose prized painting was stolen during World War II. After more than a decade of legal battles, a judge has ordered the return of a valuable artwork by Amedeo Modigliani to the estate of its original owner, marking a significant victory in the ongoing global effort to restore art looted by the Nazis.

At the center of the case is the 1918 oil painting Seated Man with a Cane, a portrait that has been valued at approximately $25 million. The work once belonged to Oscar Stettiner, a British-born dealer who operated a gallery in Paris during the 1930s. During the Nazi occupation of France, Stettiner was forced to flee, leaving behind his collection, which was later confiscated and sold without his consent.

In a decisive ruling, New York Supreme Court Justice Joel M. Cohen concluded that the painting rightfully belongs to Stettiner’s estate. The judge determined that the artwork seized during the war was indeed the same piece now in dispute and that Stettiner had never willingly relinquished ownership. The ruling emphasized that no credible evidence had been presented to challenge the estate’s claim.

This decision brings closure to an 11-year legal fight initiated by Stettiner’s grandson, Philippe Maestracci. The case highlights not only the enduring impact of Nazi-era looting but also the evolving role of investigative journalism in uncovering hidden ownership structures tied to disputed artworks.

A crucial turning point in the case came with revelations from the International Consortium of Investigative Journalists (ICIJ) and its partners, including the German newspaper Süddeutsche Zeitung. Their investigation into the Panama Papers exposed secret financial records that helped trace the painting’s ownership.

These documents revealed that the painting had been held by a Panama-registered company, International Art Center S.A., which was linked to the prominent Nahmad family-an influential dynasty in the global art market. The company had been established through the now-defunct law firm Mossack Fonseca, whose leaked files formed the basis of the Panama Papers investigation.

The Nahmad family, led by art dealer David Nahmad, had argued that inconsistencies in the painting’s provenance created doubt about the Stettiner estate’s claims. They also maintained that the family did not personally own the painting, attributing ownership instead to International Art Center S.A. However, the leaked documents indicated that the company had been under the family’s control for over two decades, undermining this defense.

Judge Cohen dismissed the arguments presented by the defendants, stating that their claims were based on “unsupported speculation” and failed to raise any substantial factual disputes. He reaffirmed that Stettiner had a “superior right of possession” before the painting was unlawfully seized and that this right had never been extinguished.

The historical context of the case is both tragic and complex. As Nazi forces advanced across Europe, Jewish collectors and dealers were systematically dispossessed of their property through a process known as “Aryanization.” This involved the forced transfer or sale of assets to non-Jewish individuals or entities, often under coercion or through legal manipulation.

Stettiner’s experience followed this pattern. After fleeing Paris in 1939, he was later arrested and interned by the Nazis in 1943. During his absence, an administrator appointed by the occupying authorities took control of his gallery and sold its contents, including the Modigliani painting. Despite a French court ruling in 1946 ordering the return of his property, the artwork had already been sold, and Stettiner never recovered it before his death in 1948.

The painting itself has a notable exhibition history. Prior to the war, Stettiner had loaned it for display at the prestigious Venice Biennale, underscoring its cultural significance. Over the decades, however, its whereabouts became obscured, a common fate for many artworks displaced during the war.

It was not until the late 20th century that the painting resurfaced. In 1996, it was acquired at auction by the Nahmad family. For years, it remained hidden in a Swiss Freeport-a type of secure storage facility often used to house valuable art and collectibles under conditions of anonymity and tax efficiency.

The use of such facilities, combined with complex corporate ownership structures, has made it difficult for rightful owners or their heirs to trace and reclaim looted works. In this case, the Panama Papers provided a rare glimpse into these opaque arrangements, enabling investigators and lawyers to connect the dots.

Legal experts say the ruling could have broader implications for similar cases. It reinforces the principle that artworks looted during the Holocaust era must be returned to their rightful owners, regardless of how much time has passed or how many times the works have changed hands.

The art market has faced increasing scrutiny in recent years over its handling of provenance and ownership transparency. High-profile cases like this one have prompted calls for stricter due diligence and greater accountability among collectors, dealers, and auction houses.

For the Stettiner family, the decision represents not just a legal victory but a restoration of historical justice. After decades of uncertainty and loss, the return of Seated Man with a Cane serves as a powerful reminder of the enduring consequences of wartime atrocities-and the importance of continued efforts to address them.

The legacy of Amedeo Modigliani, who died in 1920 at a young age, has only grown over time. His works are now among the most sought-after in the world, with some fetching over $170 million at auction. Yet beyond their monetary value, these paintings carry stories of cultural heritage, personal loss, and, in cases like this, long-delayed justice.

As more archives are digitized and investigative collaborations expand, experts believe additional cases of disputed ownership may come to light. For now, this ruling stands as a significant milestone in the ongoing effort to right the wrongs of the past-one painting at a time.

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