Art

Glasgow School of Art begins long road to return of The Mack

Published

2 years ago

January 25, 2023

The first phase of preparation works for rebuilding Glasgow School of Art’s fire-damaged Mackintosh building has been completed.

It involved stabilising the world-renowned building, which was designed by famous architect Charles Rennie Mackintosh, and removing tonnes of debris from the fire that devastated it in 2018.

As I toured the site with Eleanor Magennis, director of estates at Glasgow School of Art, the first surprise was how much of the structure remained.

We walked along what was the basement corridor, which without a roof, now offers a view of the floors above.

The charred plaster cast sculptures, rescued from the first fire and now in the neighbouring Reid building, would once have graced the corridor above.

The director’s office, with its secret studio in the roof space above, is gone – just the fireplace remains, gripping the top of the wall.

The interior basement level of the Glasgow School of Art's Mackintosh building in Glasgow,

The interior view up through the floors in the west side of the Glasgow School of Art's Mackintosh building

View down through the floors along the main corridor in the Glasgow School of Art's Mackintosh building in Glasgow, which was significantly damaged by fire on 15 June 2018.

The front door – where countless students once passed – from Alasdair Gray to John Byrne, Liz Lochhead to Robbie Coltrane – is still visible, the stone porch anyway, and the wrought iron railings and distinctive art nouveau finial.

The exposed brick has not only survived both fires, they have actually been strengthened, leaving solid foundations for the school they hope to rebuild.

Not that it has been a simple task.

Since the Scottish Fire and Rescue Service completed its report this time last year – unable to determine a cause – the work to clear the site has continued.

“It was three metres high in some places and that had to be painstakingly removed – often by hand,” said Ms Magennis.

More than 5,500 tonnes of debris was removed, and in among it, they found little scraps of history.

A piece of original Art Deco metal work at the Glasgow School of Art'

Part of the original Art Deco metal railings at the front of the Glasgow School of Art's Mackintosh building

The steel beams which Mackintosh drew different versions of, to the infuriation of construction workers on site, are now revealed on a studio wall.

“It’s the little glimpses you get of the building you knew and love, the concrete stair with the little cut-outs, the ironwork., the entrance porch with the guardians over the door, all these glimpses of Mackintosh, combined with the drawings we have, show we can bring the building back,” Ms Magennis said.

The plan set out in the school’s Strategic Outline Business Case is for a “faithful reinstatement” of the original building and this marks the end of the first phase of a three-part project.

The next stage is “enabling works” including installing a temporary roof.

Meanwhile, the school’s director Prof Penny Macbeth believes it is an important moment in the return of the Mack.

“The integrity of the building is still there,” she says. “The presence of Mackintosh is still there. There’s a lot to be done but we’re on our way.”

Raising the necessary funds will be a challenge in the current economic climate but she’s confident that it can be done with the support of the wider community.

“They’ve had a really difficult time, and we understand that,” Prof Macbeth says. “We are looking at the wider estate, and the wider community but we’re keen to remember why this building was originally built.

“It was for the industry of Glasgow but it was for the community too. They came here to do night school classes , and they still do.

“Partnership will be at the heart of the rebuild, and we will continue to collaborate with a wide range of people as we work to bring back this remarkable and inspirational building for our students and staff and a major resource for our community and for the city.”

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Art

A misspelled memorial to the Brontë sisters gets its dots back at last

Published

3 weeks ago

September 26, 2024

Anne Joseph

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.

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Art

Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

1 month ago

September 13, 2024

Harry Miller

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.