Art
Art History’s Most Fascinating Calendars
New Year’s Day may signify the end of a much-needed holiday break, the receipt of invites to ultimately disappointing parties, and the requisite declaration of resolutions destined for failure, but the holiday persists as a symbol of hope, renewal, and the promise of a fresh start for many. And for those of us who prefer paper agendas to smartphones, the date also means inaugurating a brand-new calendar.
Throughout history, artists and craftsmen have imagined and reimagined the ubiquitous time tracker, creating innovative designs to help their viewers keep an eye on the passing days. Below, we’ve compiled a few of art history’s most fascinating calendars, from 18th-century Japanese prints with cleverly disguised dates to a practical metal adornment first worn in 16th-century Europe.
In 1700s Japan, people relied on a lunar rather than solar calendar. That meant that the number of days in each month changed from year to year, with some containing 30 days and others only 29. For a brief period in the latter half of the 18th century, the government allowed only a few publishers to legally produce calendars, but wealthy patrons still wanted them, and artists found a work-around. Creators made vibrant time-telling prints called egoyomi, which subtly told their viewers how many days were in each month. This discreet type of calendar proliferated the usage of multi-color block prints, ultimately playing a role in the evolution of Japanese printmaking.
In a 1765 work by Komatsuya Hyakki, the artist depicts the numbers of the 30-day months on the emperor’s sleeve and those of the shorter months on the clothing of his deceased consort Lady Li, who appears to the ruler in a vision. Another clever egoyomi shows a storyteller explaining a type of celestial tracking device, the depiction of which comprises a disk that rotates to reveal a spinning calendar.
In South America, the ancient Inca used khipus, also known as quipus, to notea variety of data points, such as tax records and labor input. The systems — comprising knots tied in secessions of string — are still being decoded, but researchers know that the objects were used for narrative storytelling in addition to recordkeeping. In one instance, a khipu was thought to have represented a calendar year, as initially recorded by a Jesuit scholar in the early 1600s.
On the other side of the world, women in 18th- and 19th-century France were wearing chatelaines — a practical ornament that would be attached to the hip and carried items the wearer might need throughout the day, such as notebooks, pencils, watches, and even tweezers. A version at the Metropolitan Museum of Art includes a calendar with the days of the week etched in gold and the date on a rotating sheet of enamel. In another highly ornamented calendar, luxury goods company Asprey created a gilt bronze and malachite mechanism — again displaying only the days of the week and the date — for the 1851 exhibition at London’s Crystal Palace. Around 14,000 exhibitors showcased goods ranging from pistols to fake teeth.
The notion of planning days on a grid laid out in months, weeks, then days — an ubiquitous system in our everyday lives — is thought to have originated in the United States in 1773, when Philadelphia-based publisher Robert Aitken created what he claimed was the first planner. At the same time, Americans were using almanacs to predict weather and note when to care for their crops, among other practical uses. Versions of the printed materials included poems and music, and more specialized iterations used the form to disseminate information on social issues, as seen in Abolitionists’ 19th-century “Anti-Slavery Almanacs.”
Centuries earlier in Medieval Europe, wealthy patrons saw calendars inside Books of Hours described as “Medieval bestsellers.” The manuscripts served as prayer books and featured richly colored illuminations that a patron could custom-order, often showing the activities associated with each season. The books frequently opened with a calendar listing religious holidays, then subsequent pages delved into the most important days of each month. A mid-15th century folio from a Book of Hours created in France lists April’s religious feasts and includes images of the taurus zodiac sign and a woman holding a flower.
In more recent art history, the Viennese Secession and the Art Nouveau movements provided a seemingly endless supply of colorfully printed calendars, with richly colored pages placing the artistic style — defined by swirling curved lines — on full display. Perhaps the best known is the 1899 “Frommes Kalender” by Koloman Moser, one of the founding members of the Vienna Secession movement. The illustration served as the front page of a calendar by the eponymous company. Moser’s subject holds an hourglass and launches a cold and steadied stare toward a subject beyond the confines of the lithograph. The work has been interpreted as a visual representation of the anxieties experienced by the rapidly industrializing turn-of-the-century Viennese society, which would soon collapse with the outbreak of World War I.
Iconic works of modern and contemporary art history employ clocks as a symbol of the passage of time, as in Salvador Dalí’s “The Persistence of Memory” (1931) and Felix Gonzalez Torres’s “Untitled (Perfect Lovers)” (1991). But artist On Kawara employed the calendar motif for nearly 50 years in his series of date paintings titled Today. Kawara created one meticulously crafted work per day from 1966 to 2014 and imposed guidelines on himself — each work was one of eight sizes and one of three colors. A 2015 Guggenheim exhibition featuring the series also showed calendar pages in which Kawara highlighted the years of his life; as Hyperallergic contributor Peter Malone wrote in his review of the exhibition, it gave “an ironic sense of both the importance and the unimportance of the artist’s work in the greater scheme of things.”
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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