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.
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.
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 Lacoursiere — 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.
Lacoursiere 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 Beland, 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. Lacoursiere 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.
Lacoursiere 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.
Lacoursiere says the man he dubbed Smith died in 2017 or 2018.
“He was certainly well versed in the details of the theft,” Lacoursiere 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.
This report by The Canadian Press was first published Sept. 4, 2022.
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
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.
