Art
What Collectors Need to Know about Art Shipping – Artsy
“Understandably, shipment networks (and businesses) have grown and specialized over time,” said Jonathan T.D. Neil, associate professor of art business and arts management at Drucker School of Management, Claremont Graduate University. Neil divides the market for moving art into “shipping” and “handling” and remarked upon the different actors involved in the process: “There are certain companies one will use for international shipping because they understand the tax and customs regimes better than local or merely national companies. ‘Handling’ is a different story, and still operates something like a guild with junior apprentices and senior handlers who run the show with the big shippers and institutions. Further down the ladder, it’s very much a free-for-all, with artists (and art students) providing handling services to galleries and one another because they are the ones that deal with artmaking at its heart.”
Collectors should also be aware of labor practices in the art shipment market. Neil pointed out that efforts should be made to increase pay and opt for professional services in what has historically been a precarious labor market. “[The nature of art shipment] keeps costs low for the capital-strapped sectors of the art world, but this isn’t good for the artists or other contingent labor that does this essential work,” he said. “At some point, training, credentialization, and professional associations (if not unionization) will help to shore up art handling labor and wages.”
On a practical level, collectors should take into account various factors when looking for the right art shipment service: from the value of their artwork and its dimensions, to the distance it’s being moved across, to whether or not it’s traveling internationally.
Meredith Blechman, head of marketing and partnerships at ARTA, noted some of the main categories to be aware of when looking to ship art. “The material, size, and weight of an artwork have a critical role in determining optimal packing and transport method,” she said. “For example, you can’t simply soft pack a sculpture—they tend to be heavy and/or fragile and require specific packaging. A print might be fine to soft pack for transport, but if it’s traveling internationally or via sea freight, it will require additional packing to ensure it is not damaged.”
Blechman went on to explain that the different elements found in a piece can affect a collector’s choice of shipment. “Depending on the item’s size, value, weight, and fragility, it is certainly possible to ship art via a common courier like FedEx. The key is to ensure proper packing when shipping with these carriers,” she explained. “That being said, artwork that is extremely heavy, oversized, fragile, or a number of other variables might prohibit the ability to ship via common courier or would cause us to recommend against shipping in any method other than fine art transport.” The shipping services that Artsy provides via ARTA take such variables into account to calculate shipping quotes and offer the safest and most appropriate packaging and transport options for a given artwork.
Jonathan Schwartz, CEO of Atelier 4, a fine arts logistics company based in New York, offered a rule of thumb to help collectors figure out what shipment method will work best. Generally, collectors can choose services that meet two of the following three options: good, fast, and cheap. “If you have something of value or incredible fragility, you pick ‘good’ and ‘fast,’” he said. “This means a fine art logistics specialist…[and] climate control trucks, warehouses, appropriate packing, and appropriate equipment.”
Schwartz continued: “When the value begins to decrease, and the challenges of handling become easier, you can move down to ‘good’ and ‘cheap.’ This is less specialized, but still [involves] good packing and handling by professionals.…If replacement value is of no concern, [opt for] ‘fast’ and ‘cheap’—box it, [organize] parcel delivery, and track it online.” Indeed, Neil boiled down the diversity of shipment options to the two ends of the spectrum: “At the high end, it’s all safety (risk management), and at the low end, it’s all efficiency (cost control).”
One overlooked aspect of art shipment is the complex arena of insurance. Many home and institutional insurance policies do not stretch to cover art in transit. “Insurance policies have exclusions around art transport or coverage of art when it’s not in the home,” said Blechman. “If a buyer is relying on their own policy to mitigate risk while artwork is in transit, it is important to understand if a work is covered and under what circumstances.” Schwartz suggested that one should “consult an insurance agent that has experience with tangible assets, like art, and have them advise you on what sort of coverage you should have.…If you’re lending to a museum or gallery, make sure you have a loan form and that it covers you consistent with the language on your own policy or better.”
Ultimately, how a collector chooses to ship art is defined by multiple competing factors. The increasing professionalization, specialization, and digitization of the art shipment industry means that now more than ever, the perfect ratio between risk and efficiency can be found.
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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