Art
I left my art in San Francisco: Tony Bennett interviewed – archive, 1972 – The Guardian
Tony Bennett, an entertainer described by Frank Sinatra (an egocentric not noted for the lavishness of his public assessments of rival talents) as “the greatest ballad singer of them all,” last week signed a form which made him a Friend of the Tate Gallery. I happened to be present at this event, having been invited to observe Mr Bennett while being photographed for a television series, the format of which is centred upon his amiable art, entitled This Is Music.
It was an eye-opener. For more years than I care to remember, I have found myself at the receiving end of Mr Bennett’s voice. Not only have I left my heart (and more besides) in San Francisco, I have listened lonely to the pops on acoustically dubious transistors in motels and dumps and dives and flophouses and presidential suites in alien places the world over, as well as on long drives when the car radio was my sole contact between isolation and the world of public events.
On all these occasions I have tended to take Mr Bennett for granted. At best, as a saloon singer with an engaging flair for evoking sentimental, even trite, melodic and balladistic images; at worst, a tap to be turned on for background accompaniment to my own sensual daydreams, as a form of quasionanistic muzak.
A confrontation with Tony Bennett, in the flesh, tends to disturb such preconception. He is unlike his television or concert hall or nightclub image. Soft spoken, emotionally well contained, almost diffident, he speaks with a quietly modulated New York accent and with extreme reserve and almost total absence of emphasis or flamboyancy of gesture. He is smaller than one expects him to be, relaxed, compact, with the inner poise of, say, Lester Piggott.
When the cameras were inactive, we moved together in complete silence through the Blake and Hogarth exhibitions. An hour or so later, when we returned to his high luxury flat in Grosvenor Square, he told me that, in his youth, he had studied commercial art at a vocational high school opposite the Waldorf Astoria in New York.
Since then, he says, he has carried about with him his basic set of painting tools, and, over the years, he has sketched and painted the world around him in vast portfolios in which are recorded hundreds of impressions, from landscapes and city skylines to small boats and power stations and barns and animals and the varied cross-sections of people he has met.
But it’s on popular music that he begins to be authoritative. “I was brought up in New York, around Astoria, where Louis Armstrong then lived. It was the beginning of the mechanical age of show business. Bing Crosby had made a big impact on radio and in motion pictures. I identified with the kind of music that was being put over on the film and radio media, feeling that somehow, I was on this wavelength.
“I listened to all forms of music but was not particularly conscious of wishing to make any personal contribution as a solo singer. I just enjoyed singing, and listening to music, but I didn’t have any big ideas of getting up there with the Crosby and other star singers of that period. I was a librarian in the Armed Forces Network after the war was over. We supplied musical scores for a big 45-piece orchestra and I began to sing a few songs that way. It was my only experience of big-band singing for some time. When I completed my service I studied at the American Theatre Wing, in New York, under the GI Bill of Rights. Then there was the period as an art student.
“At weekends I sat in as a singer with neighbourhood jazz groups. Musicians like Zoot Sims and Al Cohn allowed me to get up on stage with them. This type of musician does not, as a rule, like amateurs, but it seems they sensed I had something. It was a start. In this way Pearl Bailey heard me and booked me to appear in her show at the Greenwich Village Inn. One night Bob Hope came in, caught my performance, and took me on tour with him. It was then that I was asked to change my name, since promoters considered my full name, Anthony Dominick Benedetto, too long to go up on the theatre marquees.
“The first song I recorded was Boulevard of Broken Dreams; it was only a semi-hit but allowed me to play the Middle West and, so to speak, keep things moving. My next recording was Because of You, a massive hit. It was up there and stayed there for a year. It bugged everybody in the music business. But, of course, the biggest hit, the one that put me across internationally, was I Left My Heart in San Francisco, and that really set me up.”
Bennett foresees a change in direction in popular music in the near future; something of a reversal, perhaps, a return to melodic harmonies, well constructed lyrics, depth of tone, and more complex orchestration. “We have been going through a no-art period,” he says. “In America the musical trade papers are hinting, starting to admit, that the promoters, the musical establishment in the popular field, have concentrated too much on rock.”
With Sinatra retired, he is unquestionably the predominant figure in popular music both as a singer of ballads and an acute musical artist. He currently has 53 albums on brisk sale around the world and his present activities in London cannot fail to enlarge his range and musical influence.
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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