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In a remarkable legal dispute, the heirs of the Bic fortune are striving to reclaim a 15th-century artwork by Fra Angelico, which they allege was unlawfully taken by the family chauffeur two decades ago. The painting, titled “Saint Sixtus,” has since been entangled in a series of dubious transactions, culminating in its sale for $5.4 million to a South American billionaire who has thus far resisted returning it. This case not only highlights the complexities of art restitution but also raises questions about provenance and ownership in the high-stakes world of art dealing.
The Legacy of Fra Angelico
At the heart of this saga is “Saint Sixtus,” an exquisite tempera-on-panel painting created around 1454, believed to be one of the final works by the eminent Renaissance artist Fra Angelico before his death in 1455. Renowned for his devout Christian themes and ethereal style, Fra Angelico was a Dominican friar whose artistic contributions were commissioned by prominent patrons, including Cosimo de’ Medici. This particular piece was originally intended as part of a triptych, with another segment now housed in the Fogg Art Museum in Cambridge, Massachusetts.
The painting’s namesake, Pope Sixtus II, met a martyr’s death, becoming a saint shortly thereafter. His feast day, celebrated on August 7, commemorates his legacy as a devout Christian leader during a tumultuous period in Roman history.
The Disappearance and Discovery
The heirs—Gonzalve, Charles, and Guillaume Bich—are descendants of the late Baron Marcel Bich, the visionary behind the ballpoint pen and disposable lighter industries. In court documents, the Bich brothers assert that their grandfather purchased “Saint Sixtus” for £130,000 at a Sotheby’s auction in 1972. Following the baron’s death in 1994, the artwork was entrusted to his son Bruno, who displayed it in his New York City residence until it mysteriously vanished in 2006.
Years of uncertainty followed until the family allegedly uncovered the painting’s whereabouts through diligent investigation. They claim the family chauffeur, Roy Morrow, had appropriated the artwork either during a move or while it was on display in their home.
A Complicated Chain of Transactions
According to the Bichs, Morrow attempted to sell “Saint Sixtus” to art dealer Richard Feigen, despite lacking any verifiable documentation of ownership. Alarmingly, Feigen allegedly overlooked several red flags, including Morrow’s lack of an art-collecting background and the suspicious nature of the acquisition. Despite these concerns, Feigen purchased the artwork for $3 million, later insuring it for $8.5 million, significantly inflating its value.
In 2018, Feigen consigned the painting to Christie’s, where it was ultimately sold to Colombian billionaire Alvaro Saieh and his wife. The Bich family, upon discovering this chain of events, demanded the painting’s return, asserting that no rightful ownership was ever established.
Legal Proceedings and Future Implications
The Bich brothers have now initiated a lawsuit aimed at recovering “Saint Sixtus” and seeking reparations from both Saieh and the estate of Richard Feigen. Their claim hinges on the argument that the painting was stolen, thus rendering all subsequent transactions void. As they navigate the complexities of ownership laws, they face the possibility that the current possessors may also be considered victims of the initial theft.
Interestingly, this is not the first time the Bich family has found themselves embroiled in legal disputes over art. Previous conflicts have involved familial disagreements over other high-value artworks, indicating a long-standing legacy of contention within the family.
Why it Matters
This case underscores the intricate web of art ownership and the challenges of reclaiming stolen works in the global art market. It raises critical questions about due diligence and ethical responsibilities among art dealers and collectors. As the Bich brothers pursue their claim, the outcome could set important precedents for similar cases, impacting not only the art world but also how art theft is perceived and prosecuted in the future. In an era where provenance and authenticity are paramount, this legal battle may illuminate the ongoing struggle for justice faced by rightful owners in the realm of cultural heritage.
