Art
A New Show in L.A. Will Explore the Combination of Art and Fine Dining in the Islamic World
From birthday cakes to Thanksgiving turkeys to Fourth of July barbecues, food and its attendant rituals bring friends and family together in a way nothing else can. The universality of that tradition will be on display in a new show at the Los Angeles County Museum of Art, Dining With the Sultan: The Fine Art of Feasting, which examines Islamic art through a culinary lens.
“It’s a food-oriented culture,” says Linda Komaroff, LACMA’s curator and department head for art of the Middle East and a specialist in Islamic work, who organized the show, which runs from December 17 to August 4 and then travels to the Detroit Institute of Arts. “So many tablewares were produced, and they survived in enormous quantities.”
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As the invocation of sultans suggests, this is an exploration of the highest-end items, made for the palaces of the privileged. The 250 objects and artworks—dating from the 8th to the 19th centuries—come from LACMA’s collection as well as from institutions around the world; the show also features a contemporary commissioned work, an animated multimedia installation by Sadik Kwaish Alfraji, A Thread of Light Between My Mother’s Fingers and Heaven.
The ruling elites in far-flung societies ate well, indeed—just look at the Indian food container encrusted in gold, emeralds, and rubies from the late 17th century or the delicately molded green glassware from Iran dating back a thousand years. A Turkish tavern scene from the 18th century rendered in an illuminated manuscript has a palpable bonhomie, and an entire reception room from 18th-century Damascus is being installed, too, with cornices that depict the baklava that was almost certainly served to guests.
Komaroff has been making it her mission to expose viewers to the beauties of her field, as with her 2011-12 predecessor show, Gifts of the Sultan: The Arts of Giving at the Islamic Courts. Her latest magnum opus came out of her own blind spots. She knew about the techniques, materials, and other facets of the objects in her care, but not the anthropological details. “We know it’s a bottle, but for what?” says Komaroff. “What goes in this beautifully decorated bowl, which we now only see when it’s empty? It made me curious.”
A blue-and-white bowl from 17th-century Iran, for example, has an inscription from Persian poetry comparing the yellow hue of muzaffar (a sweetish rice-and-saffron preparation) to a sunset; research now has convinced Komaroff that the vessel was likely used for serving the dish itself.
The show’s catalog has an unusually playful structure for a scholarly publication: It’s organized in sections called Courses, beginning with Starters. It even contains recipes, in case you feel like making a chickpea broth once served in 10th-century Baghdad or a chicken-filled pastry from the Ottoman Empire circa 1865.
Whether or not your own banquet table features beautifully decorated communal bowls—as was typical at a sultan’s feasts—Komaroff is confident the topic has a good chance of being relevant and inviting for everyone. “For most people, the exposure to a new culture is through food,” she says.
Perhaps most convincingly, the exhibition has had a particular effect on its own creator, who is not much of a kitchen denizen herself. “I’m not really a big food person,” Komaroff admits. “But everything in this exhibition makes me hungry.”
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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