Dr. Dehejia has been collecting art of all kinds for decades, turning his second-floor offices into a shifting gallery of exhibit rooms. (There is scarcely any medical equipment here, to be honest, or else it’s hidden away.)
For the minute, Dr. Harsha V. Dehejia doesn’t want to talk about his 51 years as an allergist on Elgin Street; or his second PhD in Hindu culture; or his 25 years teaching at Carleton University; or the 35 or so books he has authored; or how his wife delivered Justin Trudeau; or how he helped found CKCU, where he’s had a radio show forever; or how he drives a VW Beetle.
For a second, he wants to talk about the “oar” — a mini canoe paddle, really — that sits in the corner of a waiting area in the Lego-like set of rooms where he has practised medicine since 1971.
“The beautiful, you see, is part of my life.”
The paddle was painted by Donnell Taylor, an Ojibwa Cree who essentially saved himself through art. The self-taught artist was a fixture for years on Elgin, where the sidewalk became his studio, merchants his friends. The good doctor asked Taylor to paint him a paddle, all the more cherished after Taylor died unexpectedly in February, age 59.
He is showing me the vibrant colours and symbolic animals, as though this is the most important thing he will do today. “I find great resonance with Indigenous people here because they make beauty, they make art, a part of their lives.”
Dr. Dehejia has been collecting art of all kinds for decades, turning his second-floor offices into a shifting gallery of exhibit rooms. (There is scarcely any medical equipment here, to be honest, or else it’s hidden away.)
There were only a handful of allergy specialists in Ottawa when he began practising with field pioneer Dr. Lazarus Loeb (yes, of the prominent family) in 1971. But, at age 83, it’s time to pin up his needles.
He will be vacating the offices sometime in November, ending an era, closing a practice that has combined science and beauty in pursuit of the art of medicine.
(Is there another doctor in Ottawa who would say: “I love potters. Pottery is a primal art everywhere in the world, especially India … You can describe your life by using this pot as an example,” pointing to a painting of a “wish-fulfilling” tree.)
Born in a privileged family in Mumbai, he originally wanted to become a writer, until he broke the news to his father. “He gave me a look and said: ‘There is no such thing. You become a doctor.’”
So doctoring it was. He studied in India, then Cambridge, England, and had a stint at Bellevue Hospital in New York. When he became accredited in Ottawa, he said he didn’t know much about allergies and asthma, but Dr. Loeb told him: “I’ll teach you.”
Within a short period, he had a patient waiting list that stretched to 18 months, as the field was exploding. It’s a curious thing about allergies that, maybe 50 years ago, hardly anybody had them and now hardly anybody doesn’t. He mentioned, sadly, 14 of his patients who died of peanut allergies over the years.
He lamented that modern medicine is all about ordering a battery of tests on ever-advancing diagnostic equipment, as though patients are a medical problem.
“My regret is the art of medicine has gone down,” he said. “By that I mean talking to a person … The patient may have no physical signs that you’re going to diagnose with a blood test or a CT scan, and yet he’s not well.
“So, talk to them.”
He pointed to a system where patients and relatives must endure eight- and 10-hour waits in ER departments where nearly every player is frazzled, seniors care that amounts to soulless warehousing, and doctor relationships where no one can be hugged.
“Elder care? They don’t need medicine, they need love and compassion.”
Hinduism and the study of its aesthetic is an essential part of his life, a personal passion, as evidenced by him donating his teaching salary to Carleton to further religious studies.
“Ancient Indian culture is my soul.” He and his wife Sudha, a pediatrician, spend several months a year in India, where he says the poorest person, someone with nothing, will still try to decorate their shanty with something beautiful, even if just a flower.
And so he’s feeling nostalgic these days about Elgin Street, remembering the Party Palace where Moe, the short-order cook, knew his lunch order from memory, and Boushey’s, where he knew the staff by name, or the Mayflower, another haunt, or the little old post office where he caught up on news.
“The chit-chats of the world have gone,” he said. “Even on the phone. Press one for this, two for that, three for this, then on hold for 25 minutes.”
So true — the 25 minutes, the 51 years — all that time, where did it all go?
To contact Kelly Egan, please call 613-291-6265 or email kegan@postmedia.com
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.
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.
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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