Art
Winnipeg Art Gallery dropping Nazi-linked Ferdinand Eckhardt name
The Winnipeg Art Gallery is dropping Ferdinand Eckhardt’s name from its main entrance hall, website and all other gallery materials.
The decision comes after recent allegations and research show that while living in Germany in the 1930s, the former WAG director was a Nazi supporter, the gallery posted in a statement on its website last month.
The gallery is also conducting research into the origins of materials donated by Eckhardt and the Eckhardt-Gramatté Foundation to ensure none of it is artwork was confiscated during the Nazi regime. If that is discovered, “all efforts would be made to return it to the rightful owners or their heirs,” the statement says.
Eckhardt was born in Vienna in 1902 and conscripted into the German army, where he served from 1942 to 1944. He became an art historian and developed a division of art education for the Austrian government before moving to Canada in 1953 to become WAG director — a role he held until 1974.
He was a driving force behind the current WAG location being built, enabling the gallery to move out of a space in the previous location in the Winnipeg Auditorium (presently the site of the Manitoba Archives, across Memorial Boulevard).
His wife, Sophie-Carmen Eckhardt-Gramatté, who came to Winnipeg with him, became one of Canada’s leading music composers.
Eckhardt’s connection to and support of Nazi Germany was reported in an article by Conrad Sweatman that was published in The Walrus last November.
“Eckhardt’s public endorsements of Nazism include signing an oath of allegiance to Hitler and producing several polemics in far-right and Nazified journals in the early 1930s, urging, among other things, that Germany’s cultural arena align itself with the goals of the Nazi state,” the article says.
“Eckhardt went to work for one of the most notorious players in Hitler’s war machine, IG Farben, the same company that built the Auschwitz concentration camp and manufactured Zyklon B, used in the gas chambers,” Sweatman wrote.
WAG-Qaumajuq director and CEO Stephen Borys downplayed the link between Eckhardt and the Nazis when asked by the Winnipeg Free Press about Sweatman’s article the day it came out.
“The only surprising thing is so many things are missing and not substantiated or provided without citations or references, so there are a lot of big gaps,” he told the newspaper.
In a follow-up article in The Walrus on Dec. 7, Sweatman said the WAG minimized the findings but didn’t fully deny them.
“The WAG’s comments came a few hours after the article’s publication, and they were reeling. But there’s now been plenty of time for them to review the evidence we’ve so far presented,” he said in the piece, which was a Q & A between Sweatman and interim editor-in-chief Carmine Starnino.
The WAG’s statement on its website was posted less than two weeks later, on Dec. 19, with the headline “moving forward.”
It says it took the allegations surfaced by Sweatman “with the utmost seriousness” and immediately launched an internal investigation that included researching files at the Manitoba Archives.
Based on those findings, Borys received approval of the WAG board of governors to begin removing Eckhardt’s name.
“This process will take time and updates will be shared with the public,” the statement says.
The WAG will also continue researching any gaps in donated artwork’s ownership during the Nazi era.
“The gallery has been doing this research for several decades, and while no gaps in the ownership in the Eckhardt-Gramatté Collection at WAG-Qaumajuq have been found, this investigative work has not been concluded,” the statement says.
“The gallery is committed to examining any new allegations regarding the collection and we will keep you updated as we move further into this investigation.”
The statement goes on to say “all this work around Eckhardt’s past is part of a continued journey towards equity, decolonization and reconciliation — in all its forms.”
CBC News has also reached out to the University of Manitoba and University of Winnipeg to see if they are considering renaming any facilities that are currently named in honour of Eckhardt’s wife.
The U of M has the Eckhardt Gramatté Music Library while the U of W has a theatre, Eckhardt-Gramatté Hall, and the Eckhardt Gramatté Library on art history.
The U of W is slated to renovate the hall soon and “will review that space’s name,” said a statement from the post-secondary institution.
A spokesperson for the U of M said that institution is conducting a full review of the use of the Eckhardt name “to determine next steps. That includes an honorary degree the university bestowed upon him in 1971.
“In the meantime, any painting or plaque that bears the name will be covered until after the review,” the spokesperson said in an email.
Eckhardt, who also received an honorary degree from Brandon University, was inducted into the Order of Canada (1976) and the Manitoba Order of the Buffalo Hunt (1982).
The latter was, at that time, the highest honour the province could bestow on individuals who demonstrated outstanding skills in the areas of leadership, service and community commitment.
CBC has asked the province if it is reviewing that honour.
Eckhardt also received a Queen Elizabeth II Silver Jubilee Medal (1977).
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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