Art

Fears looted Nazi art still hanging in Belgian and British galleries

Published

1 year ago

May 21, 2023

In August 1940, Samuel Hartveld and his wife, Clara Meiboom, boarded the SS Exeter ocean liner in Lisbon, bound for New York. Aged 62, Hartveld, a successful Jewish art dealer, left a world behind. The couple had fled their home city of Antwerp not long before the Nazi invasion of Belgium in May 1940, parting with their 23-year-old son, Adelin, who had decided to join the resistance.

Hartveld also said goodbye to a flourishing gallery in a fine art deco building in the Flemish capital, a rich library and more than 60 paintings. The couple survived the war, but Adelin was killed in January 1942. Hartveld was never reunited with his paintings, which were snapped up at a bargain-basement price by a Nazi sympathiser and today are scattered throughout galleries in north-western Europe, including Tate Britain.

The story of Hartveld’s lost paintings is just one episode in the vast catalogue of art that was looted, stolen or forcibly sold after Adolf Hitler came to power in 1933. Nearly 80 years after the end of the second world war, a new book, Kunst voor das Reich, argues that Belgium has yet to reckon with that legacy.

For the book’s author, Geert Sels, the quest began in 2014 after the sensational discovery of 1,500 modernist masterpieces in the flat of an 80-year old man in Munich, the son of the Nazi art dealer Hildebrand Gurlitt. Sels, the cultural editor of Belgium’s De Standaard newspaper, was intrigued. He wanted to know if any of the works had come from Belgium. But when he went to consult official records, he was disappointed: Belgium had no public database of lost or orphan art works.

According to the Belgian government, that was because everything was in order. A government commission into plundered Jewish assets had completed its work in 2001. “The answer was, everything in Belgium has been researched,” Sels told the Observer. “I thought, well, it’s a lie.”

Sels was convinced Belgium fell far short of the 1998 Washington principles, when 44 countries agreed to establish a central registry of art stolen by the Nazis and publicise confiscated works to help trace the original owners or heirs. “A lot of countries, including Belgium, agreed to do research, to make the information public, to establish databases but Belgium hasn’t done it.”

So he began his own search, which led him to Hartveld’s scattered collection. His library – 29 boxes of art books and auction catalogues – was carted away by the Nazis.

His gallery and paintings were sold to René Van de Broek, a 31-year-old painting restorer and member of DeVlag, a Flemish group that favoured cooperation with Nazi Germany. Van de Broek paid 200,000 francs for the exhibition hall and 66 paintings, later telling postwar investigators he believed it was a fair price. In fact it was a steal – Hartveld had taken out an 800,000 franc mortgage to build the property alone.

In 1948, Van de Broek sold a single painting – the 17th-century baroque work, Portrait of Bishop Antonius Triest – to the city of Ghent for 50,000 francs. Another of Hartveld’s 17th-century works, Aeneas and His Family Fleeing Burning Troy, now hangs in Tate Britain, acquired from a Belgian art dealer in 1994. Once thought to be an Italian painting, the 1654 work bears the signature of Canterbury “gentleman painter” Henry Gibbs and its theme of exile echoes the trauma of the recent English civil war.

Van de Broek, who was questioned after the war for his Nazi sympathies, convinced investigators he had Hartveld’s blessing to dispose of the paintings. A letter dated 5 July 1945, purporting to be from the art dealer, said Van de Broek had done “brilliantly” in saving his stock. As an expression of “sincere gratitude” he proposed that Van de Broek run the gallery and sell the stock if he wanted.

For a man who had lost his son and life’s work in a war that had just ended, the casual tone was jarring. Sels took the letter to a handwriting expert, who found significant discrepancies with Hartveld’s usual style and concluded there was “a strong possibility… the signature was not the hand of Monsieur S Hartveld”.

After researching the book, Sels wants to expand the concept of lost art. Hartveld never knew his works were being sold. Other “sales” or “donations” were acts of desperation.

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In 1939, a Jewish immigrant to Belgium from Berlin, Benno Seegall, offered the Brussels Museum of Fine Arts 10 drawings from the family collection, after an earlier donation of two works, to secure visas for his sister. Emmy Seegall and her husband, Fritz Gütermann, were frantically trying to flee Germany after the Kristallnacht pogroms of November 1938, but had been turned down for a Belgian visa multiple times.

Benno, who had lived in Brussels since 1936, secured visas with avant garde works by Henri de Toulouse-Lautrec and Max Liebermann. The drawings remain in the museum’s collection today. For Sels, this is a very clear case: “They wouldn’t have given away things if it was not to save their lives and get away from Germany.”

In a statement, Belgium’s state secretary in charge of museums, Thomas Dermine, said the previous government commission had restored a large number of looted works, but subsequent restitutions had been “too sporadic”. He was, the statement said, creating a department that would charge federal museums with considering “a process that allows a more proactive approach to this issue” because “humanity must always end up defeating barbarism”.

The Royal Museums of Fine Arts of Belgium (RMFAB) said further research into the unknown provenance of some of its paintings “must be carried out” and could lead to new restitutions. The museums, which last year returned an expressionist work to the descendants of a German Jewish couple, said it was studying the works from the Seegalls as part of a larger, four-year project into the provenance of its collections acquired since 1933. “The RMFAB strongly hopes that this project will allow it to complete the provenance of art works in its collection… and will ensure greater transparency.”

Professor Dr Manfred Sellink, director of the Museum of Fine Arts Ghent, said there had been no claim to recover the portrait of Bishop Antonius Triest. Any decision on restitutions would be taken by the city of Ghent, the owner of the museum’s collection. His museum, he said, had researched works of doubtful provenance and always collaborated in the return of stolen objects, but he acknowledged there could be problematic works in the collection. “I can say without hesitation, the Belgian state has been very late in taking action,” Sellink added.

Tabitha Barber, curator of British art at Tate Britain, said the museum was doing careful work to verify its Aeneas painting has been correctly identified: “We are in the process of doing this and will update our provenance record accordingly.”

Meanwhile, Sels has traced several relatives of the Jewish families who lost art works during the war. He thinks their claims will heighten pressure on the Belgium government to act: “It won’t be enough to say everything has been studied and no irregularities were found.”

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Art

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

Published

6 days 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

1 month 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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