Art
This art thief nabbed 239 works of art worth an estimated $2 billion
Frenchman Stéphane Breitwieser was an art junkie, and to get his fix, he stole some 239 works of art with an estimated value of a whopping $2 billion — from as many as 200 museums all over Europe.
One of the valuable pieces was the old master painting “Sybille, Princess of Cleves,” by the artist Lucas Cranach the Elder, painted in 1526 and stolen from the New Castle in Baden-Baden, Germany.
All Breitwieser wanted to do with the valuable pieces he stole was to bizarrely display them in what he considered his own personal Louvre — the small, cramped attic of his mother’s modest home in the industrial city of Mulhouse, in Eastern France, where he lived with his sweetheart.
“No tobacco or caffeine, no alcohol except a sip of wine . . . and never marijuana or anything harder. But a pure dose of art can set his head to spinning,” writes Michael Finkel in “The Art Thief: A True Story of Love, Crime, and a Dangerous Obsession” (Knopf).
“To him, beauty is the world’s only true currency — the person with the most beauty is, therefore, the richest. He has sometimes considered himself one of the wealthiest people alive.”
Breitwieser was in his 20s when he stole the art, mostly during a grand theft tour of France, Holland, Switzerland, Germany, and Austria from 1994 to 2001.
He mainly stole from museums and was accompanied by his girlfriend and accomplice, Anne-Catherine Kleinklaus.
His passion for art was gluttonous; it excited him emotionally and even sexually to touch it.
“So many great works of art are sexually arousing that what you’ll also want to do is install a bed nearby for when your partner is there and the timing is right,” Breitwieser told the author.
The art thief imagined he suffered from a bizarre illness called Stendhal Syndrome, during which he experienced symptoms of dizziness, and heart palpitations that set his head to start spinning when he saw the art he wanted to possess.
But while Breitwieser claimed that “art is my drug,” the author disagrees.
“What Breitwieser is really addicted to . . . is stealing,” writes Finkel. “He’s a glorified shoplifter, he’s a kleptomaniac.”
But he was a very savvy and shrewd kleptomaniac.
Breitwieser was able to free paintings he had chosen to liberate from museums using a common everyday carry device, a Swiss Army knife. Once free, he would slip the artwork inside his pants (assuming the painting wasn’t oversized.)
“What Breitwieser is really addicted to . . . is stealing. He’s a glorified shoplifter, he’s a kleptomaniac.”
Author Michael Finkel
On one occasion, he went a bit overboard on his haul from a museum.
He stuffed his backpack, filled his overcoat, and even made a bulge in his trousers with a valuable teapot, six silver cups, a cutlery set in a wooden case, and two serving spoons.
In this manner, Breitwieser’s tiny family attic became “less a room in the Louvre than the world’s most valuable junkyard.”
Breitwieser was a master at planning his heists.
He’d target a specific work he had seen in an artist’s catalog, or by simply strolling a museum or gallery.
Always, he was accompanied by his chic, tastefully dressed girlfriend, sporting vintage Dior or Chanel, while he had the preppy button-down shirt look.
Plus his trusty Swiss Army knife was loaded with gadgets.
They usually chose lunchtime as the best time to commit their crimes, according to the author, scoping out security cameras, the placement of security guards, and the best escape routes.
She stood guard while he found his desired work of art, and made himself appear like any other tourist — “all meant to connote serene contemplation, even while his heart is revving with excitement and fear,” writes Finkel.
But luck eventually runs out — and one day, Breitwieser’s time was finally up.
Nabbed for stealing a bugle in November 2001, he was jailed.
It was a minor charge.
But a police inspector suspected that Breitwieser was more of a serial art thief and that his loot might be far more extensive and valuable than a horn.
He obtained a search warrant for Breitwieser’s mother’s house, where he still lived.
But the inspector was shocked when he searched the place and found the walls — presumably once lined with valuable paintings — now bare.
As it turned out, Breitwieser’s mother had actually gotten rid of her son’s stolen treasures — throwing most of the objects into the Rhone-Rhine Canal, in eastern Alsace.
She tossed other pieces in a ditch near the German border, some in a forest — and some, she burned.
Breitwieser served three years and seven months in prison for his thefts in France and Switzerland. Once released, he shoplifted clothing only to be jailed again, before eventually returning to his art theft fetish.
He moved to a small place near his grandparents’ farmhouse in Alsace in northeastern France, where he lived on government assistance.
When his mother bought him another car, he began driving to assorted Alsatian museums from which he hadn’t yet stolen.
He was arrested again when trying to fence the newly pilfered artworks on eBay.
His latest trial was in April 2023, for which he was sentenced to house arrest. He now wears an ankle monitor and will be in the penal system until he’s 60, in 2031.
“I was a master of the universe,” Finkel quotes him as saying. “Now I’m nothing.”
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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