Art
National Gallery of Art Receives Major Gift of Joseph Cornell Boxes
Collectors give the museum 27 box constructions and collages by the homebody artist who rarely left Queens but became a central figure in 20th century art.
Joseph Cornell, who died in 1972 at the age of 69, belongs to the tradition of the homebody-artist. A gray whisper of a man, he eschewed the excitements of travel in favor of a tea-filled life in his house on Utopia Parkway in Queens. His medium was the Box — that is, the Victorian-era shadow box, and he spent his days in his basement workshop, assembling cork balls, paper cutouts of birds and other dime-store material into improbably poetic arrangements that owed something to French Surrealism.
Among the cities he never visited was Washington, D.C. So one wonders what he would make of the news that the National Gallery of Art has just acquired a veritable truckload of his work — some 20 boxes and seven collages from throughout his career. The gift comes from Robert and Aimee Lehrman, Washington collectors.
Robert Lehrman, a trustee of the Hirshhorn Museum and a grandson of the co-founder of Giant Foods, a supermarket chain, has lectured extensively on Cornell and bought his first piece in the early 1980s. “It was a white dovecote box that had a childlike mystery about it,” he said. “I like that his work is both very simple and very complex.”
In some ways, it is hard to imagine Cornell’s intimate boxes nestled comfortably in the marble-clad halls of the National Gallery. The modest scale of his work, its whiff of the romantic past, puts it at odds with the epic proportions and air of officialdom of I.M. Pei’s East Wing, whose atrium alone is likely to boost a visitor’s daily step count.
On the other hand, Cornell seems perfect for the nation’s capital because his story is so archetypally American. He was obstinate, cranky and consumed with the beauty of common objects; he persisted with his art in the face of enormous loneliness. Living with his mother and his disabled brother, he found his inspiration in the work of other artists and dedicated his boxes to figures ranging from the composer Franz Schubert to the poet Emily Dickinson to the television actress Patty Duke.
The Lehrmans’ gift, comprising about half their Cornell holdings, “is major, major, major,” said Harry Cooper, the senior curator and head of modern and contemporary art at the National Gallery of Art. Although the museum has received far larger bequests, the gift, he said, is singular because it targets a single artist and presents his work in unusual depth.
“I would say that 20 Cornell boxes and seven collages puts us up there with the Art Institute as one of the two major collections of one of the great artists of the 20th century,” Cooper said. “That doesn’t happen every day.” The collection he mentioned at the Art Institute of Chicago consists of 37 works acquired in 1982, from the Chicago collectors Lindy and Edwin A. Bergman.
Taking its cue from the Bergman installation, the National Gallery will display its Cornells grouped together family style in a horizontal wall case in an upstairs gallery. It intends to keep several Cornells on view at all times; the first rotation opens on Thursday.
The works in the Lehrman gift range chronologically from 1939 to 1969. About half belong to Cornell’s lushly Surrealist style of the 1940s, featuring Medici princes and Romantic-era ballerinas. Others belong to the stripped-to the-bone style of the ’50s, especially the Aviary boxes, whose nearly empty, white-painted interiors can be seen as precursors of the geometric obsessions of the Minimalists of the ’60s.
The star of the collection is “A Parrot for Juan Gris” (1953-54), a quietly riveting object that features a paper cutout of a white cockatoo perched on a branch. An odd bird it is, dwelling in a dusty room that lacks a window or a view. The walls are lined with papery things — sheets of newspaper and fragments from a map.
In some ways, the bird may seem to anticipate a Washington type of person, someone ensconced in a newsy world, surrounded by headlines. But when you look closely, you see that the newspapers are in French and faded with age. The map is of Mozambique. As in every Cornell box, all paths lead away from the present and into the mists of the imagination.
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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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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