Art

‘It’s heavy stuff out at sea, so I paint to stay level’: the lifeboatman taking the UK art world by storm

Published

1 year ago

June 18, 2023

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.”

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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.

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Art

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

Published

4 days 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.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

1 month ago

August 18, 2024

Harry Miller

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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