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Get your own art detective! My simple solution for the British Museum fiasco – The Guardian

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1 year ago

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A few years ago, I was involved in removing a priceless treasure from the British Museum. Ian Jenkins, the museum’s senior curator of Greek antiquities, was my co-speaker at a Guardian event and he brought along a small bronze divinity, more valuable than any of the 2,000 or so pieces now missing from the museum’s vaults. This was something senior staff could do, he explained, so long as they returned the item before midnight. We shared a taxi afterwards, and I saw him go into the darkened museum with it.

In retrospect, this looks like part of a quaint, gentlemanly regime in which curators were permitted an easy, intimate relationship with objects in their care. That has gone wrong in a seismic way in the very department Jenkins ran up to his death in 2020, with the chronic, cumulative loss of overlooked items from the stores, many from the renowned Townley Collection assembled in the 18th century.

Commentators and even members of parliament are queueing up to point out how this reveals the hypocrisy and decadence of a Victorian colonial institution. But I’m not sure this crisis has anything to do with the Parthenon sculptures, Benin bronzes or other controversies. It’s about crime and security. It is also about the purpose of museums.

A 21st-century museum is now expected to be a public space, a media-friendly buzz creator and, most recently, a corrector of its own past. But in reality, museums have one job, which the British Museum has failed at: to preserve and protect the objects they contain. Interpretation, debate, critique – these all come second, and don’t really have to be done by the museum at all.

This suspected crime, or series of suspected crimes, exposes the vulnerability of our great collections. The losses show the sheer richness of objects that the British Museum has – and how important it is to protect and cherish even the smallest and dustiest item. Every fragment is a piece of history. When it’s gone, we remember less.

Museums don’t win awards or get reviews for their security systems. But they should. A code of honour is not adequate. A good detective or cop expects the worst of everyone and recognises the frailty of our natures. That’s why another London museum, the V&A, was wise to appoint a professional art detective, Vernon Rapley, as its head of security in 2010.

Rapley came from the Met’s art and antiques unit and made security a systematic, central aspect of the way the V&A works. When I go to that South Kensington museum to see an exhibition before it opens, I have to enter through a special entrance with a sentry booth. This feels like a place that even a curator would be scared to try to rob.

The V&A and British Museum have similar problems: huge, rambling collections of Victorian pedigree and earlier, including thousands of items in the stores. But the V&A seems to recognise that crime is always waiting to happen and acts accordingly. The British Museum apparently has been living in a fantasy world where no employee ever has a dark impulse.

Is it fair that Hartwig Fischer has had to resign? Yes, because there isn’t anything more important for museums to do than safeguard their collections. It may be that Fischer and his colleagues naively failed to follow up an antique dealer’s report of seeing artefacts online two years ago, and then tried to discredit him. Furthermore, it’s galling that, while Fischer unwittingly may have let staff help themselves, he has subjected the public to severe scrutiny, with long queues to be searched in an ugly white tent in the courtyard.

Improving the most miserable museum entry process in Britain is one job for a new director. That’s easy compared with putting right this ludicrous, tragicomic fiasco. The British Museum has to professionalise itself. It needs an aggressive reform of all aspects of security. But this has to go along with better funding and pay.

The British Museum has to accept it is now in crisis. Many people think everything in it is colonial loot, which is nonsense. The new director will need the eloquence and integrity of the great Neil MacGregor to explain what is great about this museum, and why it serves a crucial purpose: why so many people come and queue, from so many places. Indeed, is MacGregor available?

The power collapse at the museum has left the chair of trustees, George Osborne, as its spokesperson and effective boss, but as in his previous political incarnation, austerity may be the real source of the rot. If British Museum curators get the powers of Victorian gentlemen while being paid a 1950s salary, you can see how professionalism could decay. Not that everyone is going to turn to crime to pay the bills. But being an expert doesn’t make you a saint, as what may be the strangest of slow heists has shown.

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

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3 days ago

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September 13, 2024

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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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2 weeks ago

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September 2, 2024

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



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

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4 weeks ago

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August 18, 2024

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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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