Art
Two art heists, 50 years apart: expert says Canada is a 'soft target' – CBC.ca
It’s not clear how they did it: was it a clandestine operation, carried out under the cloak of darkness? An elaborate ruse, designed to fool onlookers? Or something else?
However it happened, it’s clear those who stole a world-famous portrait of Sir Winston Churchill from the Chateau Laurier planned the heist meticulously.
It took more than eight months for anyone to realize the photo hanging from the wood-panelled walls of the Reading Lounge was a fake.
“It was very premeditated,” said Bonnie Czegledi, an Ontario lawyer who specializes in international art and cultural heritage law.
Art heists don’t surprise Czegledi, but she was surprised to hear this portrait was stolen, “because the subject matter is so specific.”
Even those who have dedicated decades to studying Churchill’s legacy are baffled.
Historian Andrew Roberts, who wrote a biography of the former British prime minister, called it “a rather bizarre story.”
“It is not a Picasso,” said Ron Cohen, president of the Sir Winston Churchill Society of Ottawa.
“That said, I do believe that it is probably the most famous single photograph of any political individual, ever. I think it’s an extraordinary piece.”
The portrait has a significant connection to the Chateau Laurier itself. The photographer, Yousuf Karsh, lived in the hotel for 18 years. It was home to his studio for 20 years.
When Churchill made a wartime speech to Canada’s Parliament in 1941, Karsh was asked by then-prime minister William Lyon Mackenzie King to take his portrait.
The resulting image of Churchill standing with one hand on a chair, another on his waist, scowling into the camera, captured the mood of the Allied nations. He appears defiant and determined.
Scholars say the photo steeled the Allies’ resolve.
The Karsh Estate says the photographer’s entire portfolio of 350,000 prints and negatives was turned over to Library and Archives Canada upon his death in 1992, and no further copies were to be made.
Still, this not the only copy in existence – it’s not even the only original.
Sotheby’s in London had one up for auction in 2020, valued between US$20,000 and $26,000. The auction house declined to disclose the final price.
Ottawa’s Rideau Club has another in its Churchill Room.
One more hangs in the chamber of the Speaker of the House of Commons, near the very spot it was taken.
Richard Langworth, a senior fellow at the Hillsdale College Churchill Project in New Hampshire, said he can’t understand what was “so singular” about this particular portrait.
“Why bother?” he said. “And then to replace it with a fake?”
Several experts believe the thieves had a specific buyer in mind.
“That’s the organized crime business model,” Czegledi said.
Photos taken by guests have enabled hotel management to narrow down the timing of the theft to a 12-day period between Christmas Day and Jan. 6.
No surprise there, Czegledi said.
“Holidays like Christmas and New Year’s are very high risk for art crime and art theft because people are preoccupied with other things.”
The story has captured the imaginations of many around the world.
Almost 50 years after Skylight Caper
It’s not every day an art heist happens in one of the most well-known buildings in the national capital.
Oddly, the timing of its discovery last week is almost 50 years after the largest art heist in Canadian history was pulled off in Montreal.
Known as the Skylight Caper, the story reads like a movie script.
On Sept. 4, 1972, a man scaled a tree near the Museum of Fine Arts in the middle of the night. He lowered a ladder from the roof to two others, who made their way to a skylight that was under repair.
A disabled security system allowed them to open the skylight, drop a 15-metre-long rope inside and shimmy down the onto the second floor.
They bound and gagged three security guards, with one thief holding them at gunpoint as the others went through the museum and gathered up 55 pieces. Among them were 17 paintings, including a Rembrandt.
“A spokesperson for the museum (at the time) had said that they had very discriminating taste,” Czegledi said.
What followed was equally theatrical: a ransom demand, including an envelope full of photos sent as proof of possession to the museum’s director; the return of a stolen locket, left in a phone booth; the return of a painting by Breughel the Elder, left in a train station locker; and plans for a secret rendezvous with the thieves.
In the end nothing more was recovered and no one was arrested.
“The problem is that the beauty of these objects detracts from the seriousness of the crime,” Czegledi said.
“There’s this preconceived notion that it’s just fluff, but it’s not. It’s serious business.”
The Canadian Heritage Department said in a statement that art trafficking has “evolved from a cultural issue, to one of transnational organized crime and as a source of financing for terrorist groups.”
“It can be looked at as a matter of national security,” Czegledi said. “We’re seeing some terrorists and organized crime diversifying their portfolio in the art world.”
Canada does not keep specific statistics on art theft, instead lumping it in with all other manner of property theft.
Czegledi said that amounts to a poor understanding of both the scope of the problem and the intangible value of art.
In the United States, the Federal Bureau of Investigation has a specially trained unit dedicated to art theft. The only place in Canada with something similar is Quebec, which set up its own unit in 2008.
Canada a ‘soft target’
Canada doesn’t have specific anti-money laundering laws for art, unlike the U.K.
Czegledi said more robust investigation and prosecution would go a long way, as would sentencing guidelines for judges who might not understand the art world.
“Because of the atmosphere here, we’re a soft target.”
Canada has signed on to a United Nations convention banning the import of cultural property illegally exported from another state that is a party to the convention.
But the United States requires separate agreements with individual countries regulating the movement of cultural materials. It has deals in place with more than two dozen countries. The agreement with Canada expired two decades ago.
“A request by Canada for renewal of the agreement upon its expiry in 2002 was unsuccessful,” a spokesperson for Canadian Heritage said, adding that law enforcement agencies work together on an ad hoc basis.
Czegledi said it’s tragic that art theft continues. “How many lessons do we need to have, to learn?”
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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