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The Lost Art of Seeking the Powers of Wild Plants – TheTyee.ca

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4 years ago

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[Editor’s note: Full disclosure, I was eating some spicy Doritos when I first picked up this book, which were wild and not in a good way. To write the excellent Feasting Wild, out this month via Greystone Books, geographer and writer Gina Rae La Cerva roamed the planet to chronicle the stories of truly wild foods and the people, largely women, who know, cultivate and protect them. “Today, most people will never eat anything undomesticated or uncultivated,” La Cerva writes in her prologue. “Eating something truly untamed has become incredibly rare.” We’re pleased to publish an excerpt from Feasting Wild below.]

As agriculture became the dominant method for sourcing food, wild plants took on new spiritual value. During spring fertility rites in the Iron Age, human sacrifices were made to the goddess Nerthus to ensure good harvests. The victims first ate a ceremonial meal, which consisted, at least in one case, of more than 63 different varieties of seeds, mostly from species we would today consider weeds.

Wild plants were also increasingly sought out as remedies for the diseases caused by moving toward agriculture in the first place. Ancient Greek and Roman doctors believed that the power of herbs to cure was not inherent in their buds and leaves but lay in their complementary resemblance to human needs and desires — a system called the doctrine of signatures. If a flower resembled an eye, it could treat eye infections. If the petals were triangular or flesh-colored, like the human heart, the plant would remedy chest pains and heartbreaks. This belief became popular again in Europe during the medieval period, and wild plant-based treatments were sought after for both spiritual and corporal ailments.

Wild plants were also eaten in times of distress. In the mid-1300s, the Black Plague lifted souls out of bodies by the millions, killing nearly 60 per cent of Europe’s population. With the population decline, there were fewer farm laborers, and many agricultural fields were abandoned to the weeds. Food became scarce. While the rich ate grand displays of game meat, wild birds, and exotic fruit, the poor survivors surveyed their deteriorated society and cooked pottages of whatever could be found free-growing in nearby fields, hedgerows, and woods: plantain and mallow, dock and nettles; woody roots of wild carrot, parsnips, leeks, skirret, and turnips; the leaves of wild strawberries, the leaves of violets and roses; moss, samphire, succory, colewort, nosesmart, peppergrass, bellflowers, scurvy grass, primrose, cowslip, beach mustard, and arrow grass; buttercup, yarrow, rye-grass, and smooth hawksbeard! One hundred herbs to add to the pudding. The strong, bitter flavors of these wild plants seemed to define the lives of those who ate them.

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Initially, the church did not discourage foraging and the use of herbs. Many monasteries had extensive medicinal gardens, and the monks produced numerous herbal manuscripts. Most of these were based on texts first created in classical antiquity, such as the De Materia Medica, a five-volume encyclopedia about herbal medicine written in the first century by the Greek physician Dioscorides. Over the course of centuries, these books were copied and recopied by hand, modified bit by bit — ever-evolving manuscripts with new stories and quips inserted, slowly accumulating into the considerable tomes that existed by the Middle Ages. One of the most comprehensive was the Leechbook of Bald, a medical text written in the ninth century that laid out herbal cures for numerous afflictions, ranging from headaches to aching feet.

But until the printing press was developed in the fifteenth century, these handmade books remained rare, and inaccessible to the ordinary person. Most herbal knowledge was therefore kept alive as folk medicine, handed down from mother to daughter, a kind of inheritance that might do her more good in staying healthy than any other sort of wealth a poor old country woman could offer.

Perhaps the most widespread use of wild plants was for contraception. Many species of the parsley family, such as wild carrot, contain estrogen-like molecules, and consuming them can prevent or terminate unwanted pregnancies. But a woman in control of her own body was a dangerous thing, and the church, along with male medical professionals, began to limit the unsupervised use and trade of gathered plants. The wise women who continued to practice their art were considered witches. Between 1450 and 1750 in Europe and North America, an estimated thirty-five thousand to one hundred thousand people, most of them women, were accused of wildcrafting and put to death.

The loss of common knowledge about wild edibles accelerated during the colonial period. Prior to European contact, the Americas were home to nearly 100 million Indigenous people, who between them spoke some one thousand to two thousand languages. The number of different plants they relied upon was enormous. Across North America, it is estimated that pre-contact people used over twenty-six hundred different species, nearly half exclusively for medicine. Less than one hundred of these plants were cultivated. The rest grew wild. [Tyee]

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

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49 mins ago

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September 13, 2024

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

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2 weeks ago

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September 2, 2024

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

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

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4 weeks ago

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August 18, 2024

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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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