Art
Officials Say Russian Art, Seized by Finns, Should Return Home – The New York Times
Finland’s foreign ministry said Friday that it had authorized the return of three shipments of Russian art that had been on loan to museums and galleries but were impounded by Finnish customs officials on their route back to Russia.
The paintings and sculptures, valued at 42 million euros ($46 million), had been on loan from Russian museums to institutions in Italy and Japan. They were seized last weekend at Vaalimaa, a Finnish border crossing, on suspicion of contravening European Union sanctions imposed following Russia’s invasion of Ukraine.
Hanni Hyvärinen, a spokeswoman for Finland’s Ministry for Foreign Affairs, said in a telephone interview that the decision had been made in conjunction with European Union authorities. In a statement, the ministry said the union planned to exempt certain cultural objects from sanctions.
“Legislative changes will take effect on April 9, 2022, and these changes will include the ability for member states to issue permits for the export or other transfer of cultural objects that are part of official cultural cooperation to Russia,” the statement said. The European Union on Friday said that it was amending existing rules to allow an exemption for “cultural goods which are on loan in the context of formal cultural cooperation with Russia.” It did not say why such cultural goods were being exempted.
Jacob Kirkegaard, a senior fellow in the Brussels office of the research group the German Marshall Fund, said, “Often under these type of sanctions, cultural items are exempt because they are non-pecuniary and they are not related directly to the war effort.”
The seizure had posed substantial questions on how Europe might handle the return of art on loan from Russian museums, which for decades have sent some of the world’s greatest art to exhibitions that provided audiences in the West glimpses of cultural treasures that rarely travel.
Most recently, art from the State Hermitage Museum in St. Petersburg and other Russian institutions, for example, has been on display at museums in Paris, London and Rome.
Proponents of cultural exchanges as bridge-building exercises had hoped that officials would abide by the international agreements that govern such loans. But other analysts said that art closely associated with the Russian state or sanctioned individuals could be legitimate targets of sanctions that are intended to isolate Russia for a war that has targeted civilians and devastated cities.
Hyvärinen could not confirm whether the art had already left Finland.
The Russian culture minister, Olga Lyubimova, posted on the messaging app Telegram that the European authorities had “clarified that the exhibits that participated in European exhibitions do not fall into the sanctions list.”
She said the artworks had been shown at two exhibitions in Italy — in Milan and Udine — and featured work from collections at the State Hermitage and the Tsarskoye Selo, Pavlovsk and Gatchina museum reserves; the State Tretyakov Gallery; and the State Museum of the East.
Works exhibited at the Chiba City Museum in Japan had come from the Pushkin State Museum of Fine Arts. Lyubimova said that the Russian authorities had already begun organizing the return of the collections.
The long-term impact of the war on collaborations between Russian and European museums still remains unclear.
Since 2011, Russian state museums have refused to lend artworks to museums in the United States, fearing they might be confiscated, and some European art scholars were concerned a similar freeze could now occur between Russian museums and those in Western Europe.
The governments of Austria, Britain, the Netherlands and Spain have already asked cultural organizations not to collaborate with Russian state museums, even if they had been planning exhibitions with them for years. Russia has also stopped some international collaborations.
Thomas C. Danziger, an art market lawyer who advises on international loans, said the release of the artworks in Finland did not calm his fears about a chilling effect on loans.
“The underlying basis for international loans of artwork is confidence in your counter party,” he said. “The seizure of these works — even though they have been released — affects the confidence of the international art world in this system.” He said that “even the slightest risk that a work of art won’t be returned by the borrower would be sufficient to kill many — if not most — prospective international loans.”
Mr. Kirkegaard said that since art can have great symbolic value, European authorities may have decided that keeping the artworks was not worth the potential propaganda value to President Vladimir V. Putin, since the seizure could “play into his narrative that this is really about the West wanting to destroy Russia.”
After customs officials stopped the works at the border, the Finnish authorities suggested the seizures were justified because the artworks might qualify as “luxury goods” — a category that the EU recently included in sanctions. But analysts said that this category of sanctions was not likely intended to cover art owned by museums.
Daniel Fried, a former State Department official who coordinated sanctions policy during the Obama administration, said art crossing borders could be seized under European sanctions rules if it were owned privately by an oligarch, or by another person or entity on the sanctions list.
But even if any artworks do qualify for sanctions, they would be subject under current European Union regulations to only an “asset freeze” — not confiscation. “You don’t get access to it anymore,” said Jonathan Hackenbroich, a policy fellow at the European Council on Foreign Relations in Berlin.
In the same way that Western authorities have recently seized oligarchs’ yachts and other possessions, there would be no transfer of ownership of the art and it would still belong to the original owners, to be returned to them should the sanctions be lifted.
Alex Marshall contributed reporting.
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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Ukrainian sells art in Essex while stuck in a warzone BBC.com
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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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