Art

Prehistoric cave art found in Spain

Published

1 year ago

May 15, 2023

A panel of more than 100 prehistoric engravings has been found in a cave in La Febró, Catalonia, Spain.

left Researchers from IPHES have been studying and documenting the prehistoric engravings in the Cova de la Vila cave complex since their discovery in 2021. — Researchers from IPHES have been studying and documenting the prehistoric engravings in the Cova de la Vila cave complex since their discovery in 2021. Image: Arnau Pascual Monells/Departament de Cultura de la Generalitat de Catalunya

The Cova de la Vila cave complex first attracted archaeological interest in the 1940s, but after a few preliminary investigations its location was lost again for 80 years. The cave was rediscovered in 2012 during a research project by IPHES (the Catalan Institute of Human Paleoecology and Social Evolution). However, the Sala dels Gravats, or the Engravings Room, was initially identified by a group of cavers who were exploring the area independently in 2021. They reported their discovery to IPHES, who have since been carrying out comprehensive work to investigate, document, and protect the site, which was announced to the public in March this year.

The engravings make up an 8m-long panel along one wall of the Sala dels Gravats, a small chamber covering c.90m2. The surface of the wall is relatively soft, and the engravings were made using both the artists’ fingers and wood or stone tools. The motifs found on the panel include quadrupeds (possibly bovids and equids), as well as circles, zigzags, lines, reticulates, stelliforms (suns and/or stars), and more. There is also a composition that the researchers suggest resembles the oculado or ‘eye idol’ sculptures known from the Chalcolithic Iberian Peninsula.

The engravings are organised into five lines, with different elements dominating various parts of the panel: zoomorphic images are most common in the lower section, reticulated in the central part, and stelliforms in the upper part. It is thought that the whole panel was probably created at the same time or over a relatively short period, due to the lack of overlapping images and the stylistic homogeneity of the engravings, and the archaeologists believe that its organisation reflects a deliberate composition, which probably had some sort of symbolic meaning.

below The wall of the Sala dels Gravats is decorated with a variety of motifs, both abstract and figurative. — The wall of the Sala dels Gravats is decorated with a variety of motifs, both abstract and figurative. Image: Arnau Pascual Monells/Departament de Cultura de la Generalitat de Catalunya

Based on stylistic analysis, the panel is thought to be associated with the pastoral and agricultural communities of the Chalcolithic or Bronze Age, who lived in the region c.5,000-3,000 years ago, offering a valuable insight into their worldview. It is very rare to find art from the period in underground caves in this area – almost all other examples known are from outdoor shelters – making this one of the most important collections of post-Palaeolithic prehistoric art in the Mediterranean arc.

Due to the delicate conditions in the Sala dels Gravats, documentation and conservation are currently IPHES’s main priorities. However, explorations of the cave’s topography and a few archaeological test-pits, as well as archaeological material found on the surface of the cave floor – including animal remains and a shell that was used as a lamp – have confirmed the authenticity and importance of the art and its association with post-Palaeolithic prehistory. The next stage of research will involve in-depth study of the engravings through photography, photogrammetry, and digital tracings, as well as the creation of 3D models to allow both researchers and the public to explore this unique discovery without endangering the fragile art.

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Art

A misspelled memorial to the Brontë sisters gets its dots back at last

Published

4 weeks ago

September 26, 2024

Anne Joseph

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.

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Art

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

Published

1 month 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.