Art
‘Gin making is an art’: Nova Scotia GINstitute allowing visitors to make personalized blend – TheChronicleHerald.ca
Thomas Steinhart holds his pinky beneath the spout of my mini, two-litre still to catch a drop of the gin I’m cooking up.
I’ve gone with a spicy citrus blend of botanicals that are heavy on the grapefruit and orange peel, with the addition of what I hope is a balance of sweet spices like cardamom, cinnamon, anise, and angelica root.
After tasting the smear of gin on his finger, Steinhart declares it suitable for a good gin and tonic, but too busy for a martini.
I’m in the middle of the weekend-long GINstitute By the Sea at Steinhart Distillery in Arisaig on Nova Scotia’s north shore. Wayne Johnson, who’s running the experience for Steinhart, says, “Thomas makes a classic style of gin with fewer botanicals. When it comes to martinis, purists don’t want all that – as they call it – herb garden.”
I selected my herb garden ingredients from among a couple of dozen items spread out on a nearby table. This is where Johnson led me and three others through the process of selecting, weighing, and preparing the botanicals. I started with a generous 30 grams of juniper berries and seven grams of coriander seeds.
“Juniper is vital,” Steinhart told us. “Coriander is important, so don’t be shy.”
The juniper is imported from Italy where the Tuscan sun infuses the berries with loads of flavour. Although juniper grows wild in Nova Scotia, our season isn’t long enough to produce berries suitable for flavouring gin.
With a mortar and pestle, we ground the berries and seeds, before tossing them into the still pot. Johnson filled each with a 30 per cent flavourless alcohol made at the distillery from red winter wheat grown in PEI.
“Gin starts as vodka,” Steinhart explained. “Vodka making is a science. Gin making is an art.”
German traditions
Next, we placed the remaining ingredients like citrus peel, cinnamon sticks, ground cardamom, and dried orange flowers into the aroma basket that fits into the top of the still. Vapours from the alcohol, juniper, and coriander mix pass through the other ingredients on their way to the condenser.
Steinhart doesn’t look the part of the artist. He’s a big man with a deep voice and a hearty appetite. In a couple of bites, he scoffed a plate of traditional schnitzel and spaetzel from the outdoor restaurant next to his distillery, a meal that comes with the GINstitute experience. But his handlebar moustache, tapered to a point, does fit his background as a mechanical engineer, millwright, and German immigrant from a long line of distillers.
“I learned distilling from my grandfather in Germany,” Steinhart says. “He had a farm, and if you have a farm, you have a still.”
As a boy, Steinhart started by washing bottles and stoking the wood fire. When his grandfather was satisfied that he knew the process well enough, he permitted Steinhart to distill on his own.
Each farm, like his grandfather’s, was granted an annual quota of 1,000 litres or so. “Everybody made more than they were allowed to, and everybody got caught,” Steinhart recalls.
Everybody, that is, except his clever grandfather.
“He painted milk jugs white inside. Everybody tried to sneak them into the bars at night, but he delivered milk and booze during the day with a little wagon.”
He and his grandfather made fruit brandies called schnapps, but it was gin that they perfected. Since start-up in 2012, Steinhart’s gin and distillery have won major awards in San Francisco, New York, and Berlin. The exclusive Gin Guild in England granted Steinhart the title Warden Rectifier. He’s the first – and, as far as he knows, the only – gin maker in the Americas so recognized
So, it’s no wonder that from a single drop, Steinhart can detect the ingredients in my unique gin recipe and suggest the best way to drink it. He repeats his assessment at each of the other four stations.
‘The ginny pigs’
The five of us spend the morning tending our mini stills, keeping the temperature between 80 and 90 degrees Fahrenheit, continuously adding ice to the condensing pot, emptying the meltwater, and carefully pouring off the accumulated gin into a bottle.
In the shadow of the full-sized, 1,200 litre still, we go about our work, mirroring that of Steinhart himself when he crafts single batches of gin and other spirits by hand.
Our mini stills compress the time and number of steps involved in making a truly fine gin like Steinhart’s. In three or four hours, our bottles are nearly filled with gin. It’s now at over 70 per cent alcohol, so, using an alcohol meter as his guide, Johnson adds water to drop the alcohol level to about 50 per cent. Any lower and the oils from the botanicals become visible, resulting in cloudy gin.
At last, it’s time for drinks. We grab a classic gin and tonic from the bar and head outside to the picnic tables and Adirondack chairs. The distillery sits atop a hill with a million dollar view of the Arisaig lighthouse and wharf where fishing boats tie-up between trips. Before us stretches the Northumberland Strait all the way to P.E.I.
We review our GINstitute experience with Johnson and decide it’s a real winner, but it needs a little honing. The introduction, instructions, guidance, and access to the ingredients all need streamlining. But this is just its first summer, and as one of the participants put it, “We’re the ginny pigs.”
I order a burger from the restaurant – this is Steinhart’s, so of course it’s a schnitzel burger – then sit back to sip world-class gin. Not mine, which is good for mixing. It’s Steinhart’s, made with the wisdom and artistry of generations.
https://www.instagram.com/steinhartdistillery/
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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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