Art
Art repatriation: Fighting traffickers in an illicit global trade
Matthew Bogdanos is an assistant district attorney, homicide prosecutor, and retired Marine colonel, with a master’s degree in the classics. It makes him a powerful foe against those trafficking, trading or buying stolen antiquities.
“Here’s a dirty little secret,” he said. “Up until ten years ago, it was considered oh so gauche to ask inconvenient questions of provenance – it just wasn’t done. The world of cocktail parties and bespoke suits and limousines pulling up to the curb? How could I ask someone of that stature: Do you have the invoice, or do you have any proof that it was legally removed from the country of origin? And so, that was then. I got it.
“This is now.”
Bogdanos has been employing his detective skills, prosecutorial powers and, yes, a bit of bravado to target the illicit art world. He founded the Manhattan DA’s antiquities trafficking unit in 2010, with one employee. There are now 18.
Doane asked, “It is a relatively young unit. Was the sense that this was not important?”
“Bear in mind that we live in a world of infinite problems and finite resources,” Bogdanos said. “I’m primarily a homicide prosecutor. Even now, that’s half my job. Much like homicide, when a loved one is taken from you, it’s forever. When antiquity is pillaged, it’s gone forever.”
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Doane asked, “Your jurisdiction is New York. It’s an important big city, but it is just New York.”
“Yeah, the words ‘just’ and ‘New York’ should actually never be in the same sentence,” Bogdanos replied. “Sure, It’s just New York. We do have the best galleries in the world, some of the finest museums in the world. More importantly, if it passes through New York, we have jurisdiction no matter where it is now. If the wire transfer was made in New York, we have jurisdiction, no matter where it is now; if it was offered for sale, if it was shown at an auction. So, sure, my jurisdiction is limited to New York City. But to update a phrase, all roads lead to New York.”
When deployed to Iraq in 2003, Bogdanos engaged his troops in tracking down objects looted from Baghdad’s Iraq Museum. Today his team of civilians – detectives, agents and historians – has recovered more than 4,500 antiquities in the U.S., valued around $300 million.
Just last Tuesday, a bronze bowl, or krater, more than two thousand years old, stolen from a tomb in Macedonia, was handed to Greece’s culture minister.
Ahead of Tuesday’s repatriation ceremony, Bogdanos let “Sunday Morning” get a closer look. “This was recovered from an Upper East Side apartment here in New York, sitting in someone’s home,” Bogdanos said.
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They’ve recovered objects from 28 countries, repatriating more to Italy than anywhere else.
Italy’s paramilitary police force, the Carabinieri, granted “Sunday Morning” access to their vault in Rome. It’s packed with stolen and fraudulent art they’ve seized.
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Paolo Salvatori, commander of the art police’s archaeology section, said, “These objects were illegally excavated. By Italian law, they belong to the state.”
Countries have their own cultural heritage laws which govern the protection of antiquities. In enforcing Italy’s, Salvatori often turns to a familiar ally: Col. Matthew Bogdanos, whose team has helped repatriate more than 500 pieces to Italy
Last summer, Italy opened the Museum of Rescued Art in Rome. “Every single item in that museum was recovered and returned by the Manhattan District Attorney’s office,” Salvatori said.
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The centerpiece of the museum are the Orpheus and Sirens, from the Getty Museum in Los Angeles, that Italy had been trying to recover for 30 years.
Alamy
“Sunday Morning” wanted to ask the Getty about these pieces, found to be stolen or illegally excavated. They declined our request for an on-camera interview, but told us, thanks to information provided by the Manhattan District Attorney’s office, “we determined that these objects should be returned.”
The Metropolitan Museum of Art in New York, however, did welcome us in. Andrea Bayer, the deputy director for collections, took us to see an object on loan from Italy. In an agreement which saw the Euphronios krater returned to Italy, the Met has received objects on loan.
The Met appeared eager to highlight constructive cooperation with museums after having made headlines for showcasing objects that should not have been there, including a gold coffin which Kim Kardashian posed next to during the 2018 Met Gala. It had been illegally smuggled out of Egypt.
Bayer said, “We were the victims of an international fraud. So, we learned. It was an uncomfortable lesson for us.”
Bogdanos said that, after that picture of Kardashian went viral, “One of the people who saw that photograph was one of the people who looted that coffin out of Egypt. One of his co-conspirators happened to be one of my informants. Sheer coincidence!”
Bogdanos reviewed the paperwork provided to the Met: “The permit was issued in May of 1971. And the permit stamp said AR Egypt, Arab Republic of Egypt. Well, here’s the problem, smugglers: In May of 1971, the Arab Republic of Egypt did not exist. It was the United Arab Republic. And so, we confronted the Met with that, and the coffin is now in Cairo where it belongs.”
Bayer said, “In recent decades, we’ve become much more conscientious and conscious of this history of the objects, and more careful. By 1970, the UNESCO guidelines came out saying you must know where works of art were excavated or where they were sold from. This is the sort of dividing line date for us. And once the world community began to look at things in that way, we’ve been out in front ever since.”
Doane asked, “You say you try to be ‘out in front of this,’ but subpoenas have been issued, search warrants have been carried out. How embarrassing is that for an institution?”
“Mister Bogdanos is actually our ally in this,” she said. “We don’t see this as a confrontational thing with him. If his office is in possession of information that we do not have, it’s our responsibility, our duty and the thing we want to do, to make sure that it is returned to the proper owner.”
Bayer wanted us to see a newer addition to their collection: “One of the few great antiquities that we’ve been able to buy in recent years.”
The Met purchased this wellhead in 2019, and Bayer said they can trace its history since it was excavated. “There are no scary gaps in that provenance,” she said, “which is a relief to me and to all of my colleagues.”
CBS News
That Greek krater is already on its way to a museum in Greece. Bogdanos wants repatriated pieces overseas put on display, and museums and collectors in the U.S. put on notice: “We have informants in many museums around the country,” he said.
“You have undercover agents in museums?” asked Doane.
“I wouldn’t call them undercover agents,” Bogdanos replied. “I would call them academics and archaeologists and art historians who care.”
“And will call you if they see something?”
“Yes.”
“You must have a very busy phone!”
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Story produced by Amol Mhatre and Sabina Castelfranco. Editor: Emanuele Secci.
Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
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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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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