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Art
Deachman: Ottawa's most prolific art collector ready to gift them all away – Ottawa Citizen
A longtime supporter of the local arts scene, Bill Staubi was diagnosed with Stage-4 liver cancer last fall. Now he’s giving away more than 1,200 pieces.
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It was little more than happenstance that led Bill Staubi to purchase his first work of art.
He was a 24-year-old BA grad student living in Saint John, N.B. in 1978, and a handful of artists were hanging a group show in the large living room of the residence where he lived. They needed help with the grunt work, and Staubi, having nothing better to do, volunteered.
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By the end of the day, he’d become so captivated by the artwork that he bought five pieces — one from each artist.
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He had absolutely no money, though, so he went to the bank that held his student loan, and negotiated another loan, for $360, to purchase the pieces. “The manager was amazed that I wasn’t buying a car or stereo or going on a crazy vacation, so he took a chance,” Staubi recalls. “I should have realized then that that was a glimpse into my future.”
Today, the walls of Staubi’s downtown, two-bedroom apartment are almost completely covered in art — hundreds of pieces that he’s collected over the past 46 years, representing just about every medium possible. Most are figurative or representational; abstract art isn’t his jam. Queer and religious themes are noticeable, but it would be unfair to buttonhole his collection by either of those descriptors — there’s simply so much of everything.
And like a well-stocked museum, the pieces on the walls, shelves, windows and floors are just the tip of the iceberg; his collection numbers between 1,200 and 1,300 pieces, most by Ottawa artists and most purchased when those artists’ careers were just beginning and they most needed support.
Out of Office
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When he looks at art that captivates him, Staubi feels it, viscerally, in his chest and his head. “Sometimes it’s almost a desire to grab it right there,” he explains, “or I’m haunted by it if I walk away.” The feeling, he adds, may soften over the years, but it never goes away.
So one can only imagine what he’s feeling now, as he looks at these treasured pieces for the last time.
Last fall, Staubi, 69, was diagnosed with Stage-4 liver cancer. His prognosis suggests he’ll make it to 70, but no further. Rather than saddle his son with the onerous chore of dispersing the collection, Staubi is doing it himself while he’s still well enough.
Some of the pieces will find their way back to the artists who made them. Some will go out the door as gifts to friends. Most will be gifted elsewhere, finding new homes in galleries where members of the public might feel the same sort of palpitations that Staubi felt when he first saw them. About 125 are going to the City of Ottawa’s collection, and another 50 to the Ottawa Art Gallery’s. Twenty-one will go to the Thunder Bay Art Gallery. One piece, depicting the 1971 riot at the Kingston Penitentiary, will likely make its way to the Penitentiary Museum in that city.
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“I always knew that when my time came, the collection would have to go,” he says. “I’m glad that so much of it will go to places that can store and properly take care of it, and where people will get to see it.”
Still other works are being donated to organizations — the Ottawa Arts Council and the Mississippi Textile Museum, to name a couple — for fundraising purposes.
I first met Bill two years ago while interviewing members of Ottawa’s queer community for a Pride Month feature for the paper. Unrelated, I was working on a photo exhibition of my own at the time — my first — and upon learning of his connection to the art world, I began picking his brain for advice. Bill is himself an artist who serves on art juries and in an advisory capacity, and his support of local artists goes far beyond simply purchasing their work.
As someone who had difficulty considering myself an artist, I cannot overstate how Bill’s encouragement put me at ease. I sent him an invitation to my show, though I didn’t really expect to see him. But not only did he come to the opening, he was the first to buy a piece. So I well understand how, were I a young artist hoping to walk that path in any kind of professional manner, his support, either through an early sale or simply some sage counsel, could make all the difference.
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“Artists face a lot of rejection, a lot of criticism,” he says. “One of the great rewards for me is seeing the moment when an artist goes, ‘Oh, my god, this might be for me, this might have been the right choice.’”
Indeed, Ottawa’s arts scene has been immensely fortunate to count Staubi among its advocates, and there’s going to be a large hole in it when he’s no longer with us. But if one of his chief legacies has been the support of local artists, I hope another will be to encourage others to do the same.
“I’ve always wanted to live in a place that had a vibrant arts community,” he says, “that had things to go to and things to see that would make me question what I thought, and this is one way to do that.
“You have to make the world you want,” he adds. “I can’t cure hunger. I can’t stop what’s happening in the Middle East. I can’t solve inflation. But I can make someone feel good about the career choice they made, and by sharing what I’ve done with this collection I might inspire others. Maybe not on this scale; I accept that I’m eccentric. But if you want to live in a place where local artists can work and thrive, then support them.”
PHOTO GALLERY OF BILL STAUBI’S ART COLLECTION
Born in Fort William, Ont., a city that no longer appears on maps, Bruce Deachman has called Ottawa home for most of his life. As a columnist and reporter with the Citizen, he works at keeping Ottawa on the map. You can reach him at bdeachman@postmedia.com.
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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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