Art
Art: 10-year mission to paint everyone in St Davids
Ten years ago, artist Grahame Hurd-Wood set himself a huge challenge.
He resolved to paint an individual portrait of every resident of the city he lives in.
Fortunately for him that city is St Davids in Pembrokeshire, the smallest in the UK, with about 1,800 residents.
But it is still an enormous task.
A decade on from his decision, Grahame is 1,000 portraits in, and the aptly titled City of Portraits project, rather than getting smaller, is increasing as the scope of his ambition broadens.
He had already assembled about 100 portraits of people he knew a decade ago, when a personal tragedy intervened to give life to the epic journey he is undertaking.
A good friend and fellow artist who had cancer asked him to paint her, not knowing that the portrait would end up being completed after her death.
Grahame explained: “I met this lovely girl called Debbie more than 10 years ago.
“When she realised she had cancer, she said ‘oh you have to do a portrait’.
“She didn’t think that was the end. So I did a whole series of drawings and things and the portrait unfortunately became a posthumous one.
“One of her legacies for me was actually to carry on with the portraits as something to really focus on.
“The whole story starts off with [her]. Although I’d been doing some portraits before, the actual project, the City of Portraits, came into fruition around about the time she died.”
At the time Grahame thought the work would take him about five to 10 years.
But now he says the project, an homage to his adopted home town, will keep going.
Originally from Gosport in Hampshire and partly raised in Northern Ireland he moved to the diminutive city after finishing studying art at Camberwell School of Art and the Royal Academy in London.
He was “a little bit lost” at this point and although he had only been to St Davids once, he thought he would come down for one summer in the 1980s.
“So I did, and I sort of settled down here. I bought a house and that was the start of my venture in St Davids basically,” he explained.
What makes it more remarkable is City of Portraits is a labour of love which is a side project to Grahame’s main work.
He said: “I’m concentrating on other projects as well, which is based on painting landscapes around here, seascapes, and they are quite big so everything’s quite time consuming.
“When I’m doing the little portraits, it’s about the essence of the character.
“It’s about the ephemeral contact with somebody, and each portrait has a little story, whether it be somebody talking about their life, or talking about something which is amusing, but it’s a particular account of each character.
“They’re quite intense, but beautifully intense.”
His subjects arrive in different ways. Some is through word of mouth, sometimes are as simple as approaching people at the shops and asking if they would like to sit for a portrait.
“Invariably people say yes. I’ve only had one or two who’ve said no,” he explained.
“It accumulates that way.”
Having started with just a focus on St Davids, Grahame is now expanding his horizons.
“The whole project is evolving. I’ve actually brought in the peninsula around St Davids. It’s very much part of the community.
“So I’m doing people who are involved in St Davids, who I know, people who say ‘well I live in Trefin, I live in Porthgain, do I count?'”
Now that he has assembled about 1,000 portraits – “enough to show people I am dedicated” – he is in discussions with St Davids Cathedral about hosting a dual exhibition of the work there within in the next year.
“I’ve been talking to the cathedral having an idea about projecting them on to the tower of the cathedral,” he said.
“There’s been a lot of very positive response about that as well. I’ll probably co-ordinate it with having a show of the portraits either in the cathedral – there’s a place where they have exhibitions – or maybe having them in the city council which has a very big exhibition space.”
His oldest subject, now 100, was in her 90s when painted, and although Grahame has mostly focused on adults, he also painted the city’s under-11s rugby team as part of the project.
Not everyone talks about themselves while being painted, but one sitter, Klaus, has stayed with him across the years.
“There was this character who had been a refugee in the war, and he talked about his past, and talked about how he had to leave Germany. It was a very moving story, and it empowered me,” he said.
“I think this particular portrait took me eight hours and he talked gently through the whole eight hours.
“He was probably 83 at the time, and to listen to stories like that it made me think of what other people have been through in the past. It made me feel humble. When I left I was very emotional.”
Although Grahame had already lived in St Davids for a long time, undertaking the project has brought him closer to his adopted home.
“Each portrait has made me feel part of the community,” he said.
“One thing this elderly lady said to me when she came to sit for me. She said, we’re really proud of you bach (dear), and that really meant a lot to me.”
There is one face still missing from the community, that of Grahame himself. He is hoping to get another artist to paint him as part of it.
He does not see any end to the project.
“I’m never going to retire. It’s a passion that will hopefully never leave me.”
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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