Art

Finger marks on cave walls are among the earliest Neanderthal art

Published

1 year ago

June 22, 2023

Researchers inspect markings made by Neanderthals on the wall of La Roche-Cotard cave in France

Kristina Thomsen, CC-BY 4.0

Neanderthals used their fingers to carve symbols into the wall of a cave in France at least 57,000 years ago. The engravings are some of the oldest known examples of Neanderthal art and are possibly the very oldest.

“The engravings could only have been made by Neanderthals,” says Jean-Claude Marquet at the University of Tours in France, because they are the only hominins to have left artefacts in the cave and the entrance was sealed by sediments until modern times.

La Roche-Cotard cave is situated in the Loire valley and consists of four consecutive chambers. It has been excavated on and off since 1912, with the most recent round beginning in 2008.

Neanderthals lived in the front chamber and entered the second and third, says Marquet. Excavations have unearthed many distinctive “Mousterian” stone tools, which are associated with Neanderthals and not with Homo sapiens.

The walls of the third chamber, called the pillar chamber, are made of tuff, a soft rock primarily formed from solidified volcanic ash. Here, the team found eight panels covered with markings. These include a great many lines traced by fingers: often straight lines, but sometimes also circles or ovals. Some seem to be arranged in larger patterns. One panel has a cluster of more than 100 dots. A subgroup of the engravings was made with tools like flint, antler and wood rather than with fingertips.

It isn’t clear whether the engravings “represent symbolic thinking”, Marquet and his colleagues write in their paper. “Interpretation and meaning are very complicated [for us] to imagine,” says Marquet.

The attribution of the engravings to Neanderthals, not modern humans, rests partly on the Mousterian tools found in the cave and partly on the timing. Marquet’s team dated sediments from the cave entrance to at least 57,000 years ago, and probably around 75,000 years ago. This means the entrance was sealed around that time.

Neanderthals lived in Europe and parts of Asia for hundreds of thousands of years. They disappeared around 40,000 years ago, not long after some modern humans began arriving in Europe in large numbers around 45,000 years ago, following their emergence from Africa. This is long after La Roche-Cotard was sealed.

“It’s well dated,” says Paola Villa at the University of Colorado in Boulder. “The fact they’re all Mousterian materials suggests that they are right.”

While many examples of prehistoric art are known from Europe and elsewhere, most are from the past few tens of thousands of years, and have been attributed to H. sapiens. Claims of Neanderthal art have been highly controversial. Strong evidence finally emerged in 2018, when researchers demonstrated that art found in several Spanish caves was more than 45,000 years old, and in some cases over 60,000 years old.

The story has since become more complicated because evidence has emerged that modern humans did intermittently enter Europe earlier than 45,000 years ago. Some briefly lived at Grotte Mandrin in northern France around 54,000 years ago and others were in Greece 210,000 years ago.

Nevertheless, on the balance of probabilities, Neanderthals were probably responsible for the engravings, says April Nowell at the University of Victoria in Canada. “I have no trouble in accepting these as hominin-produced digital tracings and no trouble accepting that it dates to a period where only Neanderthals were in the region.”

The engravings in La Roche-Cotard add to the growing evidence of Neanderthals producing symbols and symbolic artefacts. Back in 2003, Marquet and his colleague Michel Lorblanchet at the French National Center for Scientific Research described an artefact from La Roche-Cotard: a piece of flint with a bone splinter driven through it, which they interpreted as an attempt to represent a face, presumably that of a Neanderthal. More recently, a symbol like a hashtag was found in Gorham’s cave in Gibraltar, which was probably made by a Neanderthal.

Clearly, some Neanderthals engaged in these behaviours, says Nowell. “But I do find it interesting that all of these examples seem to be one-offs in a way.” There are no other known Neanderthal sites with engravings like those in La Roche-Cotard or the one in Gorham’s cave – whereas prehistoric art by H. sapiens is more common and contains repeating elements.

In the same way that a person on the beach may doodle shapes in the sand, the Neanderthals may have created symbols with little or no shared meaning, says Nowell. “I think we don’t yet have that kind of community-level symbolic behaviour.”

It may be that modern humans picked up some of Neanderthals’ symbolic behaviours and developed them further, says Villa. “There is clear evidence

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

Published

6 hours ago

September 13, 2024

Harry Miller

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.

Art

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

Published

2 weeks ago

September 2, 2024

Harry Miller

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

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Art

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

Published

4 weeks ago

August 18, 2024

Harry Miller

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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