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50 years after major Montreal art theft, trail has gone cold and nobody's talking – Terrace Standard – Terrace Standard

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2 years ago

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Fifty years after what has been described as the biggest art heist in Canadian history, the thieves’ identity remains a mystery, and nobody is keen to talk about it.

From the Montreal police to the art museum that was burgled, from Canadian Heritage to the Quebec Culture Department, mum’s the word on the Skylight Caper.

It was in the early morning hours of Sept. 4, 1972 that three men rappelled from a skylight down a nylon rope into the second floor of the Montreal Museum of Fine Arts. They had selected the one skylight for which the alarm hadn’t been set, and once inside, the armed trio quickly overpowered the museum’s few overnight guards.

Blindfolded, gagged and bound in a first-floor lecture hall, the guards could only provide the most basic of descriptions—the two men they actually saw were of average height and build, wore ski masks and had long hair. Two of the thieves spoke French and one spoke English. A fair chunk of the city’s male population could fit the description.

It is not altogether surprising the case faded quickly from memory, as the 1972 Labour Day weekend was particularly eventful. On Friday, Sept. 1, three men who were refused entry to Montreal’s Wagon Wheel, a country and western bar, set fire to a rear staircase. The blaze ultimately consumed the entire building, killing 37 people.

The next day Canada lost the opening game of the 1972 Summit Series to the Soviet Union at the Montreal Forum.

And by the time news of the Skylight Caper began hitting national newswires, international attention had been drawn to the unfolding Munich Olympics hostage crisis, soon to degenerate into one of the most appalling acts of terrorism the world had seen.

To this day, the Montreal theft – which the journal Canadian Art in 2019 called the largest in the country’s history — remains remarkably obscure.

For about half an hour the trio went about selecting the paintings, small objects and pieces of jewelry they intended to steal. Evidence from the scene suggested to investigators that the thieves attempted to rig a pulley system to haul themselves, and the precious art and artifacts they had stolen, back through the skylight. Later reports on the theft indicated the thieves abandoned their initial pulley scheme and opted to use the museum’s panel van instead.

One of the thieves inadvertently tripped the alarm on a side door leading out to the street, in the process eliminating the suspicion it had been an inside job.

Investigators later determined that the thieves panicked, grabbed what they could carry — 18 paintings and 39 small objects — and took off on foot. Among the stolen items were paintings by Delacroix, Jan Brueghel the Elder, Millet, Rubens and Rembrandt.

What had been left behind was even more surprising: masterpieces by Goya, El Greco, Picasso, a Renoir and another Rembrandt.

Police later concluded that what connected the stolen pieces was their size — all were small enough to be easily stacked together.

At the time, the museum estimated it had lost $2 million in stolen property — nearly $14 million in today’s dollars. Later estimates indicated the Rembrandt alone may have been worth that much.

Only two of the stolen items have ever been recovered — a pendant and a painting attributed to Jan Brueghel the Elder — both during ultimately failed ransom efforts.

READ ALSO: Two art heists, 50 years apart: expert says Canada is a ‘soft target’

As the 50th anniversary approached, the Montreal police department was asked for comment about the unsolved mystery. Spokesperson Anik de Repentigny said the case is still considered open and offered no further comment.

But long-time art crime investigator and retired Montreal police detective Alain Lacoursière — a man whose talent for solving art crimes earned him the nickname the Columbo of art — doesn’t believe Montreal police are actively investigating the theft because no one is familiar with the file.

Lacoursière has also previously told both the Journal of Art Crime and Canadian Art that he believes the investigation was flawed from the beginning, alleging files were mishandled and investigators gave up too soon.

Though the museum’s media relations department put together a collection of files about the case, they were reluctant to discuss it in any depth. The theft is for all intents and purposes a cold case, the paintings and objects are now the stolen property of the insurer and the affair dealt an embarrassing blow to the museum’s prestige and collection.

“Any artwork’s theft is a tragedy, as it deprives society of the benefits of art and knowledge,” Maude Béland, media relations officer for the museum, said in an email. “Of course, we would love to have them back! Unfortunately, we do not have any new information.”

When contacted by The Canadian Press for comment on the anniversary of the theft, spokespeople for representatives at three levels of government declined all comment.

The Skylight Caper is unique among high-profile art thefts, as the paintings have both increased and decreased in value. After the Brueghel was returned unscathed in a show of good faith during ransom negotiations, it was re-assessed by a prominent art historian and determined unlikely to have been painted by the great master.

Subsequent review of the museum’s files on the stolen paintings, as reported in the Journal of Art Crime in 2011, revealed that doubts had been cast on the authenticity and/or attribution of about seven paintings, in some cases dating to six years before the heist. Adding insult to injury, a Rubens purchased by the museum with the insurance payout was also later determined to be misattributed.

What seemed like the biggest break in the case came about 30 years after the theft at a small art gallery in Montreal’s east end. Lacoursière struck up a conversation with a man he would subsequently nickname Smith who seemed to know everything about the case, including details that weren’t commonly known to the public.

The man was an avid art collector, independently wealthy and had been an art student in Montreal in 1972. “Smith” indicated he might have been part of a group of art students Montreal police suspected in the weeks after the theft.

Lacoursière at one point showed up at the man’s home and asked him — perhaps hoping to throw him off — where in his backyard they should start digging. “Smith” just laughed it off.

Lacoursière says the man he dubbed Smith died in 2017 or 2018.

“He was certainly well versed in the details of the theft,” Lacoursière said in an email exchange, “but I think this was either from newspapers or from friends.”

The retired detective spent a good part of his career investigating the case but still has no clear idea of what happened to the paintings aside from a hope that they still exist somewhere.

Taylor Noakes, The Canadian Press

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

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1 hour ago

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September 13, 2024

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In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

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Ukrainian sells art in Essex while stuck in a warzone – BBC.com

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2 weeks ago

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September 2, 2024

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Ukrainian sells art in Essex while stuck in a warzone  BBC.com

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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

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4 weeks ago

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August 18, 2024

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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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