The Art Gallery of Hamilton has more than 10,500 works but only space to display a fraction of them.
Depending on programming, visitors might see between two and four per cent, says Shelley Falconer, president and CEO.
But the AGH has a plan to change that through a 48,000-square-foot expansion that includes a four-storey extension at the south of the building with a new entrance on Main Street across from city hall.
The estimated $90-million project also calls for new gallery space for its permanent collection and a new exhibition area to chronicle local history and innovation.
The plan also calls for more storage capacity, a new theatre, as well as additional education and event spaces, including a revamped outdoor plaza featuring a splash pad and skating rink.
“It would be an open and welcoming public art museum for the people of Hamilton,” Falconer said. “And that whole area around the building also would be activated.”
To pay for expansion, the AGH is angling for federal and provincial funding, and plans to launch a national fundraising campaign to realize the ambitious initiative.
And a “signal from the city” would help encourage contributions from senior levels of government and inspire donors, board member Eleanor McMahon told council in a recent presentation.
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The Art Gallery of Hamilton’s expansion plans, as shown in this conceptual rendering of the gallery interior.
Andrea Kezdi / DPAI Architecture Inc.
Ottawa has funded a feasibility study of expansion concept, which bodes well for an upcoming application for capital dollars via the Canada Cultural Spaces Fund, McMahon noted.
The gallery — which has operated on King Street West beside the convention centre since 1977 through a long-term lease agreement with the city — was last renovated in 2005.
It’s collection spans 700 years of history and includes works by the Group of Seven, Tom Thomson, Norval Morrisseau, Emily Carr and Alex Colville.
The city — which founded the non-profit entity in 1914 and is co-owner of the collection — has a vested interest in the gallery, board member Tom Wilson told council.
“For me, that’s a flag that should be waved by all of us regularly, so it’s ours,” the Hamilton musician and artist said. “What are we going to do about it? What are we going to do with it?”
The AGH wants to work with the city “as a partner” on its future vision, Falconer added. “That’s your land. It’s your collection, so it’s something that we need to do with the city.”
‘New relationship’
The gallery receives a $1-million annual grant from the city, but no regular based funding from the federal and provincial governments.
That’s 16 per cent of its revenue, which is low compared to other galleries of its size and stature, Falconer said. About 60 per cent is drawn from donations and fundraising efforts, while earned proceeds make up the balance.
“We can’t afford to take care of this building,” Falconer told The Spectator, noting the city could help with “in-kind” services, such as covering insurance and maintenance.
Council has directed staff to review the city’s partnership with the AGH and its funding model, which was established in 2007.
It’s time for the city forge a “new relationship” with the art gallery, which is a “critical part” of Hamilton’s downtown renewal, said Coun. John-Paul Danko, who sits on the board.
“The part of the collection that we know is really the tip of the iceberg, and there’s no much more there that it really needs to be on display and celebrated by the city.”
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
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.
