Stormy seas are a common challenge for lifeboatman Mark Taylor. As a skilled coxswain of the RNLI boat that serves the coast around Tynemouth in the north-east of England, he has often faced down dangerous swells to reach mariners in distress.
But this weekend Taylor, who has also become a sought-after artist, is getting used to the contrasting waters of the Thames. After working on his painting in his studio near his North Shields home, the 43-year-old has been picked out for a London exhibition and a new artistic residency on the banks of the Thames in Canary Wharf.
“I’ve been around water all my life,” he told the Observer. “I’ve always been obsessed with boats and with the moment when the bow of a launching lifeboat hits the waves. But I also want to get across the history of any landscape I paint, whether it is the pier at Tynemouth or the wharfs of the Thames.”
His paintings, which include seascapes and portraits, are already popular, and have been collected by celebrities including the singer Sam Fender, Duran Duran’s Andy Taylor and the acclaimed screenwriter Ian la Frenais. Prices for his new collection start at £9,500.
“It can be pretty heavy stuff out at sea, so I paint every day to stay level,” said Taylor. “My father, Dallas Keith Taylor, was a lifeboatman and a pilot boat skipper in nearby Blyth harbour, so he also went out in all weathers. He was a painter too, with a commercial gallery. At art school I wanted to be more like a Mark Rothko or a Jackson Pollock, not like my dad, but after some time teaching art, I missed my own painting and I have found my own style now.”
Taylor worked as a manager at Newcastle College, running courses as well as teaching, but he gave it up a decade ago, not just to return to art, but to care for his father, who suffered with motor neurone disease. “It is the best thing I’ve ever done. I looked after him in his final months and during that time, he would hold my hand and correct me as I painted, showing me how to get an effect on a cloud, or something. I realised I enjoyed painting every day. Towards the end, my father told me he could not have painted something of mine I’d showed him. He said, ‘If you can carry on painting like that, you’ll never be hungry.’ It meant a lot.”
His solo show in the lobby of the Marriott Hotel was offered to Taylor after he won a place in the Royal Society of Marine Artists annual show last summer and it is a position previously held by artist Lincoln Townley. “I know that Lincoln’s residency here absolutely catapulted his career to the next level,” said Taylor, “so if my residency is half as successful, I’ll be a very happy man.”
Several of his new paintings of the docks and quays of east London feature collages made with old maps, hinting at the past of the Isle of Dogs as a fulcrum of international trade, and, before that, as estuary marshland.
“The new residency in London will give me a completely new audience. I want to paint all the glass reflections and the lights of the modern office blocks, but to show the history and the importance of the tides.”
In Tynemouth, Taylor’s studio is within sight of the lifeboat station and he is regularly interrupted by his RNLI pager. “If I’m painting with oils I can just put my palette down and the paint will stay damp for a few hours and I can go back to the work. If it’s acrylic, I just have to leave it. It’s happened during family meals, even on birthdays, but there’s potentially someone’s life to be saved.”
“When I am out on a lifeboat ‘shout’ I can’t really think about painting, but I have sometimes tried to capture on canvas the big 10-foot drop looking down the boat from the prow when you are on the crest of a wave, and the crew are coming up below me with a rope. Sometimes I’m leaning right out of the boat with the crew holding on to my jacket as I lean right out to grab someone’s hand. It’s a dangerous moment.”
While in London, Taylor plans to volunteer as a part of a relief crew working around the Thames or in Dover.
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.
