Art
In Belfast, a Celebration of Art, Community and Pizza
The author and illustrator Oliver Jeffers invited friends to toast his new book at a dinner in a former textile mill.
In October, on the second floor of a former spinning mill in east Belfast, the visual artist and author Oliver Jeffers, 46, hosted a candlelit dinner for a group of Irish and Northern Irish artists and friends. The Portview Trade Centre, as the building is called, stopped producing textiles in the 1970s and is now home to 54 artists’ studios and creative businesses, including Jeffers’s, and his neighbors made up a large portion of the guests and the organizers. The occasion was a personal one — the launch of his 20th book, “Begin Again” — but he also wanted to celebrate his wider creative community. Accordingly, the evening combined tributes to both Belfast, where the artist has a home in the Holywood area, and Brooklyn, where he lived until recently and still has a studio.
Jeffers is perhaps best known for his philosophical, understated children’s books, including “The Book Eating Boy” (2006) and “The Heart and the Bottle” (2010). And true to his style, “Begin Again” is curious, warm and quietly profound. “Not for kids, but not not for kids,” Jeffers says, the book is a vibrantly illustrated exploration of the climate crisis that attempts to lay out a hopeful future for humanity. “It offers an idea of slowing down, of using what’s near us — of starting over,” says Jeffers, “with the realization that we cannot do anything until we start to act with a sense of unity, to tell ourselves new stories that are defined by what we want.”
While guests gathered for drinks, the sun could be seen setting over the city; on the north side of the building, hills rolled down toward the sea. The food too — a collaboration between the local bistro Noble, known for its unpretentious ingredient-led dishes, and Flout, an American-style pizzeria on the ground floor of Portview — was unmistakably rooted in Belfast. Despite a limited power supply and a lack of running water in the room, dishes were assembled and cooked in situ using three portable pizza ovens and a small stove. The table was lit with clusters of white candles and, after the sun finally went down, said Jeffers, it glowed with “the warmth of a hearth at home.”
The attendees: Jeffers celebrated with his wife and business manager, Suzanne Jeffers, and a group of Irish and Northern Irish artists, including the actress Caitriona Balfe, 44; the portrait artist Colin Davidson, 55; the electronic musician and composer David Holmes, 54; the husband-and-wife film director duo Glenn Leyburn, 54, and Lisa Barros Da’Sa, 49; and the writers Glenn Patterson, 61, and Jan Carson, 43. “Everybody at this dinner,” said Jeffers, “was interested in the power of narrative, the impact of what they do and how it makes other people feel.”
The table: Guests sat at two long tables — pushed together to create a more intimate arrangement — in the middle of the otherwise nearly empty 10,000-square-foot room. The events stylist Rachel Worthington McQueen, 30, sourced an Irish linen tablecloth in the same navy hue as the book cover’s background. Mismatched dishes in traditional Blue Willow patterns (originally bought from secondhand websites for Worthington McQueen’s wedding two years ago) held squat candles, and food was served on simple white plates brought over from Noble. Seasonal blooms — including deep burgundy dahlias and pale pink spray roses — echoed the rich palette of the book and were provided by the local, sustainable flower farm Sow Grateful. Each display was tied with bright pink twine, sourced by Suzanne Jeffers to match the exact Pantone color (number 812U) of the book’s title.
The food: To start, Noble’s co-founder and head chef, Pearson Morris, 34, served crab and lobster from nearby Bangor Bay dressed with homemade mayonnaise and his Bloody Mary tomatoes (heritage tomatoes steeped overnight in a mix of vodka, celery and Tabasco sauce) on Flout’s blackened focaccia. “I bake things so you think they’re burned — that’s flavor for me,” said the pizzeria’s founder, Peter Thompson, 45. Next was a take on the classic New Haven-style clam pie made with steamed Galway Bay mussels, alongside which Morris served pan-fried wild halibut with a fish head sauce. Then came Flout’s Detroit-style pepperoni pizza and a salad featuring locally grown baby gem lettuces. Dessert was Noble’s chocolate delice — jaconde sponge cake topped with salted caramel, dark chocolate parfait and a chocolate mirror glaze — accompanied by a salted caramel ice cream with Flout’s sourdough chocolate cookies tumbled through.
The drinks: Noble’s front-of-house manager and co-founder, Saul McConnell, 38, oversaw the drinks, which ranged from a vibrant Blanc de Meunier champagne for arriving guests to an amber passito-style Liastos wine from Lyrarakis, Crete, for the dessert course. The Boundary Brewing Company, Belfast’s first tap room and one of Jeffers’s neighbors in the building, provided an alternative aperitif: a full-bodied English bitter called A Certain Romance, a favorite of Jeffers’s studio team.
The conversation: Many artists talked shop, swapping notes on the production problems they encounter in their respective industries, and conversation also turned to global events. “There’s always been a comparison between the conflict in Northern Ireland and the conflict in Israel-Palestine,” said Jeffers. “We talked about the divisive rhetoric that’s going on right now.”
The music: Jeffers enlisted the Irish producer and D.J. Marion Hawkes, who runs the record store Sound Advice in Portview, to create a playlist, which ranged from classic folk to contemporary electronic tracks.
The recipe for Noble’s mayonnaise: It’s hard to beat fresh, homemade mayonnaise, says Morris, and it’s a quick, thoughtful addition to a dinner at home. But despite its few ingredients, it’s deceptively difficult to make. He recommends starting with equal parts white wine vinegar and egg yolk (approximately 2 teaspoons of vinegar to two yolks), which prevents the eggs from splitting as you very gradually beat in 250 ml of oil, then season with 5 grams of sugar and 5 grams of salt. Morris likes to use extra-virgin rapeseed oil for its neutral flavor, and an electric mixer for ease.
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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