Art
‘Him coming home with a Renoir was our normal’: Peter Ustinov art goes on sale
The Oscar-winning actor, writer and director Peter Ustinov was the renaissance man of his time; a renowned wit and raconteur in the six languages he spoke fluently plus the two he could get by in.
Now, a sale of his art and personal effects – including annotated scripts and awards – speaks volumes of the “cosmopolitan and cultivated” tastes of the man whose 64-year career included 80 films, dozens of television appearances, numerous books, novels, short stories and plays and a plethora of awards and honours.
More than 19 years after Ustinov’s death, 170 objects from the actor’s eclectic collection, the highlight of which is La Liseuse, an impressionist work by Pierre-Auguste Renoir valued at more than £1m, are being auctioned by Sotheby’s in Paris.
Ustinov’s Golden Globe for his portrayal of the Roman emperor Nero in the 1951 film Quo Vadis – for which he also won an Oscar – drawings by Pablo Picasso and Toulouse-Lautrec as well as film scripts for Spartacus directed by Stanley Kubrick complete with Ustinov’s annotations and sketches are also being sold.
The actor, who would say he was conceived in Leningrad and born in London, was from an artistic Russian family that emigrated to the UK after the revolution. Paintings by his mother, Nadia Benois, including portraits of Ustinov as a boy, and models of sets designed by his great uncle the Russian artist Alexandre Benois, commissioned by the Ballets Russes and the Royal Ballet in Covent Garden are up for auction along with paintings by the Swiss-French artist Félix Vallotton.
In a pre-sale interview from her home in California, Pavla Ustinov, the second of his four children, whose mother was the Canadian actor Suzanne Cloutier, said she had mixed feelings about the objects from her childhood. Most were collected between 1963 and 1968 when the family lived at Neuilly-sur-Seine, on the outskirts of Paris.
Pavla, like her father an actor, writer and director, who went on to appear with Ustinov on stage, television and in film, recalls the arrival of La Liseuse in the family’s French apartment in 1965.
“My parents had been out walking and I specifically remember them coming back with the Renoir because it was my 11th birthday. There were endless discussions where to put it – and it was moved around – though I don’t remember where it ended up,” Pavla said.
“But that was my father … he did everything completely spontaneously. He didn’t have an organised mind. Him coming home with a Renoir was our normal.”
Pavla describes a childhood that was “chaotic to put it mildly”. The children were frequently uprooted to move country to fit in with their father’s career.
“He was a very absent father. He would say, ‘I’ll see you tomorrow’ and then disappear for six months. Of course, you don’t get that from the photographs where we look like one big happy family,” she said.
The children’s “normal” included visits by some of the era’s biggest stars. On one occasion, Pavla ran away from a school skiing trip and hitchhiked to David Niven’s Swiss chalet.
“David called the headmistress and said I was distraught. Before I went back, he gave me some stripy red toothpaste and said I should put some on my finger and hold it near my eyes and it would look as if I’d been crying. We practised this a few times together. He was a lovely man.”
Another time, Richard Burton and Elizabeth Taylor visited the Ustinovs’ Paris home.
“We’d returned from three months in Turkey and my brother Igor and I used to be made to dress up in Turkish costumes – with pointy shoes, baggy trousers and bare bellies – and dance when guests came round. It was extremely embarrassing.
“One day Elizabeth Taylor was there, sitting on the couch wearing a too-tight dress. While we were doing our belly dance she gave us a very unamused look as if we were being a nuisance. Richard Burton looked really miserable, I felt sorry for him. While Peter and Elizabeth were talking, Richard went to the guest toilet in the foyer and was throwing up. I didn’t know if he was ill or drunk but I stood behind with a box of Kleenex handing him tissues.”
Ustinov – popularly remembered for his portrayal of Agatha Christie’s famous detective Hercule Poirot – died in Switzerland in 2004 aged 82 without a recognised will. Since then, his estate, inherited by his third wife, Hélène du Lau d’Allemans, has been at the centre of a prolonged and bitter family battle. Much of the wealth has been squandered in legal bills.
Pierre Mothes, vice-president of Sotheby’s France, said the collection reflected Ustinov’s “cosmopolitan and refined” personality. “He came from an unusual family of artists and had great taste. He was a good collector but there was no theme: it was a question of passion. He bought with his heart,” Mothes said.
Pavla added: “This collection he made with our mother was collected definitely with love. It was not calculated or put together with any consideration of money. They would go out treasure hunting, see something and buy it. Sentimentally speaking, the collection represents his entire successful life.”
“We children didn’t think much about it; it was the life we had, it was our normal. But seeing them in the auction has brought back memories.”
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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