Art

Looted Nazi Art Again Before Supreme Court

Published

4 years ago

December 7, 2020

The medieval Dome Reliquary (13th century) of the Guelph Treasure is displayed at the Bode Museum in Berlin. It’s part of collection of priceless artwork that finds itself at the center of a legal argument at the Supreme Court.

Jed Leiber remembers playing chess with his grandfather when he was a boy, and learning about all that Saemy Rosenberg had left behind behind when he fled Germany in the 1930s.

“I made a promise to myself that one day I would find everything that was taken from him and have it returned,” Leiber says.

So Leiber was listening intently on Monday when the justices dealt with his grandfather’s famous art collection and its coerced sale to the Nazis. It was not the first time the court has dealt with the Nazis theft of important works of art.

In 2004, the court ruled that Maria Altmann, an elderly Jewish refuge living in Los Angeles, could sue the government of Austria in the United States to recover one of the most famous works by painter Gustav Klimt, the Woman in Gold, a portrait of her aunt. She won in the high court, and the Austrian government ultimately returned the painting, which she sold for $135 million to Ronald Lauder for his Neue Galerie in New York City.

Fast forward to Monday when the justices were hearing Leiber’s case, centered on the Guelph Treasure, one of the most famous collections of medieval artifacts in existence. It was once owned by Leiber’s grandfather and two other Jewish art dealers. They were forced to sell it for a fraction of its value in 1935, and it is now on display in a German state museum in Berlin.

“This was purchased by Hermann Goering, perhaps one of the most notorious art thieves of all time, for his pal Adolf Hitler, the monster who killed 6 million people, for a museum,” Lieber says. “Why would Germany want to defend” that?

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Saemy Rosenberg and his wife, Lisellotte, are seen with an unnamed man. Saemy Rosenberg was forced to sell his priceless art collection to the Nazis. Now, his grandson wants the Supreme Court to intervene.

In the Supreme Court Monday, the German government, backed by the Trump administration, argued that foreign governments and their agencies are shielded from lawsuits under the Foreign Sovereign Immunities Act.

But Leiber’s lawyer, Nicholas O’Donnell, contended that this suit and others like it are specific exceptions under the law because, as he put it, “The Nazi government set out explicitly to destroy the German Jewish people by taking their property. And Congress has specifically identified the Nazis’ looting of art from the Jewish people as genocidal.” This is not a human rights case, he maintained, but a property rights case.

But justices both liberal and conservative, justices who are Jewish and those who are not, seemed doubtful.

Wouldn’t your reading amount to “a radical departure” in the way the law is interpreted, asked Justice Clarence Thomas.

Justice Stephen Breyer said that O’Donnell’s argument seemed to have “no limit.”

“Terrible things happen in this world,” he noted, adding that the list of terribles “goes on and on.” And if we can bring court cases in the U.S. for those things, “can these other countries do the same and accuse us?” he said, citing the “Japanese internment, which involved 30,000 people in World War II.” Breyer said that’s why, in his view, commissions set up to deal with these kinds of questions may work better.

In an interview, O’Donnell said that while the Austrian government surprised many after the Altmann case by setting up a commission that has settled with hundreds of Jewish heirs in cases involving Nazi art theft, Germany has not.

“Germany, a much larger country with a much more central role in the events in question” has handled just 17 such cases, he says.

He adds that the archival records of the sale in this case tell a dark tale. When the Nazis were talking among themselves, he says, it is clear what they were doing. Nazi officials “were talking in very overt terms about the undervaluing of the collection they were targeting.” In fact, he notes, any museum that wanted to offer a fair price was simply waved off.

In the end, Saemy Rosenberg, Leiber’s grandfather, would flee with his wife and their daughter to the United states where he would rebuild his life as an art dealer. The other two owners would not fare as well. Julius Goldschmidt escaped to London, a broken man. And Z.M. Hackenbroch was beaten to death by a Nazi mob in Frankfurt.

It’s not clear what Jed Lieber and the other heirs ultimately want, or would settle for. The Guelph Treasure is valued at $250 million. At the very least, Leiber says he wants an acknowledgment.

“The story about how it came to be in that museum [in Berlin] is important to me,” he says. “My grandfather needs to be part of that story and how it was recovered.”

In the lower court, Leiber won the right to sue, but based on the tone of Monday’s argument, his odds for preserving that victory at the Supreme Court look iffy.

Source:- NPR

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Art

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

Published

9 hours 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

4 weeks 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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