Art
Enrico Navarra, Art World Visionary, Is Dead at 67 – The New York Times
Enrico Navarra, a gallerist, collector and art-book publisher with a visionary instinct who promoted artists, especially Jean-Michel Basquiat, before the rest of the art world had fully appreciated the importance of their work, died on July 21 in Le Muy, France. He was 67.
Justine de Noirmont of his gallery, Galerie Enrico Navarra in Paris, said the cause was emphysema.
Mr. Navarra was a charismatic behind-the-scenes figure whose career was defined by “not being afraid to believe in something no one else was believing in,” Grégoire Billault, head of the contemporary art department at Sotheby’s in New York, said in a phone interview.
Basquiat, the Brooklyn-born artist who started as a graffitist and became a hot commodity before his overdose death in 1988 at 27, was already receiving attention when Mr. Navarra bought his first Basquiat in 1986. But Mr. Navarra helped establish him as more than just a chic artist of the moment.
He published an extensive Basquiat monograph in 1996, and he organized or promoted exhibitions of his art all over the world. His efforts helped Basquiat’s work become the focus of serious auction-house sales, most famously in 2017, when Sotheby’s sold an untitled 1982 painting of a skull for $110.5 million. That was the sixth-highest price ever paid for a work of fine art, according to news accounts.
Mr. Navarra’s efforts laid the groundwork for that moment, Mr. Billault said. After the sale, he said, “My first phone call was to him.”
But Basquiat was just the best-known artist championed by Mr. Navarra. Mr. Navarra was among the first to explore the Asian art market, and his gallery’s publishing arm brought out a series of “Made by” books — “Made by Chinese” (1996), “Made by Brazilians” (2014), “Made by Thai” (2019) and so on — spotlighting contemporary art in countries not on much of the art world’s radar.
“His entire career was to connect all these dots,” Mr. Billault said, “believing in artists who were not the mainstream at the time.”
Mr. Navarra was born on Feb. 6, 1953, in Paris. His mother died when he was a young boy; he was raised by his father, Fernando, a tailor.
Mr. Navarra had no formal education in art or related fields; his first jobs were in sales. One job, as a lithograph salesman, connected him to the art world, and eventually he struck up a friendship with Ida Chagall, daughter of the Russian artist Marc Chagall, which proved pivotal.
He began working with the Chagall estate the year after the artist died in 1985, and she persuaded Mr. Navarra to open his own gallery to display Chagall works, which he did in 1989.
He also took those works around the world, including to places like China where few were familiar with the artist.
“When you make a show in the United States, France or Australia, people know Chagall already,” he told The Sydney Morning Herald of Australia in 1995. “In China they don’t, but they are still able to respond to his color, the way he paints and the dreams he puts in his paintings.”
He took the same approach with Basquiat and other artists, showing them in Asia, Africa and elsewhere or quietly supporting exhibitions by others. Fred Hoffman, who published a Basquiat monograph, “The Art of Jean-Michel Basquiat,” through Mr. Navarra’s press in 2018, curated a Basquiat retrospective 15 years ago that was seen at the Brooklyn Museum of Art as well as in Los Angeles and Houston. He said Mr. Navarra and his staff were instrumental in securing key loans of works.
Mr. Navarra, a Frenchman of Italian heritage, was cosmopolitan in his understanding of art and its impact.
“From the outset of my association with Enrico,” Mr. Hoffman said by email, “I was singularly impressed by his keen insight into American culture, especially those artists focused on art as a reflection of the urban milieu.”
Mr. Navarra was fond of unconventional projects.
In the mid-1990s and again several years later, he put huge sculptures on the beach at Saint-Tropez, on the French Riviera. His international view of art was underscored in 1998 when he organized an exhibition at his Paris gallery called “Mondial” — “global” or “universal” in French — in conjunction with the World Cup, the international soccer tournament, which was held in France that year. Dozens of artists from France and other countries were invited to create works inspired by the World Cup.
Four years later, when the tournament was held in Japan and South Korea, he joined with the exhibitor Gallery Hyundai to bring the concept to South Korea, a show that featured 70 artists from 19 countries.
Mr. Billault, though, said that much of Mr. Navarra’s impact came not from exhibitions but from facilitating networking by artists, patrons, buyers and others, often at gatherings at his home in Le Muy.
“He built his business on really connecting people, not only traveling around the globe like crazy but inviting everyone to his house,” he said. “Constantly there were 30 people in the house. Lunch and dinner were always occasions for people to talk to each other.”
Mr. Navarra is survived by his companion, the fashion stylist Laurence Poggi, with whom he recently formed a fashion label, and three children: Aurelia, from a relationship with Christine Schreyer, and Doriano and Chiara, from a relationship with Sophie Guillet.
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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