Richard Thurston La Prairie: Collector. Bon vivant. Patron. Dandy. Born March 3, 1925, in Timmins, Ont.; died Oct. 2, 2019, in Toronto, of heart failure; aged 94.
A party at Richard La Prairie’s home was an event to remember. The spacious condo seemed much smaller than it actually was, partly because of the crowds of family and friends, but more so because of the artworks that crammed every available space. The dining table was occupied by life-size figures, and only a narrow path was available up the stairs between the massed ranks of objets d’art. In the bathroom, guests would wonder how Richard co-existed with the art installation in his bathtub. In the bedroom, a display of masks from around the world (including a Jacques Plante goalie mask) terrified small children. Stacks of books on history and politics crammed every available corner. Richard would cut a swath through the throng, clad in beautifully tailored, extravagantly colourful suits, and clutching a perpetually replenished glass of “holy water” (a gin martini) in his gesticulating hand. Late in the evening, a borscht soup heavily spiked with vodka would be passed around by way of dinner.
This was a long way from Richard’s origins in Timmins, a small Northern Ontario town about a seven-hour drive north. He was born in a log cabin, one of nine children of a colourful French-Irish Catholic family. The family was mining royalty: his father, Adolphe (Lap) La Prairie is memorialized in Canada’s mining hall of fame and the majority of Lap’s seven sons spent time in the industry. Richard wanted to go to art school, but Lap was fiercely opposed. He saw Richard’s left-handedness, his speech impediment and his interest in art as symptoms of a problem that would be cured by a career as a mining engineer. Richard’s degree in commerce and his career in finance were a compromise.
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He spent most of his career with Royal Trust in Montreal. Long after his departure, he was remembered there as a true gentleman, a witty raconteur and an iconoclast. He displayed two mementos of his time at the bank: the gold watch he received for his 25th anniversary, and the gold boot that he had made when he was let go six months later.
Art was the defining passion of Richard’s life. He was a canny collector: paintings, ceramics, installations, indigenous art. He cared only that the art was individual, witty, colourful and eye-catching. He said that he did not choose the art: The art chose him. Richard bought art that he loved, with little care for resale value, and was dedicated to supporting young and emerging artists. His home doubled as a gallery, and many art lovers visited for informal tours. His visual flair was also reflected in his dress, and his well-made and striking suits continue to be worn on special occasions by his great-nephews.
Richard and his immediate family maintained a lifelong silence and tacit understanding about his romantic life. He remained single, but was much in demand to squire friends, including former Globe and Mail society columnist Zena Cherry, to all kinds of events. He was also a cherished uncle to 54 nieces and nephews, many of whom saw him as a model, not only for his style and intellect, but his determination to find his own path in an era of conformity.
When he discovered Camp Ooch, a charity that provides opportunities for children with cancer, Richard took a lifelong interest in the programs it provided. He donated his complete estate to this charity and the proceeds will continue to transform children’s lives for many years to come.
With his trademark wit, Richard drafted his own obituary: “Mostly forgotten, now definitely gone.” Entertaining as always, but for once, quite wrong.
Lives Lived celebrates the everyday, extraordinary, unheralded lives of Canadians who have recently passed. To learn how to share the story of a family member or friend, go to tgam.ca/livesguide
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.
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.
