Rupert Toovey’s Articles – Page 42

Toovey’s Celebrate 25th Anniversary

I started Toovey’s Auctioneers twenty-five years ago, with a dedicated team of people who remain passionate about the company and the work we do. We opened on a stormy Valentine’s night in 1995 and were delighted when hundreds of guests braved wind and rain to support us and celebrate this new venture. I set out to create a family firm where people are valued.

The pleasure of accompanying people through their art, collectors’ items and antiques remains as strong as it has always been. We all value objects which allow us to speak of our lives – the prompts to fond memories. Many will also celebrate the beauty of a piece, whilst others collect in the pursuit of knowledge, continually refining and adding to their depth of understanding of a particular field or period, training their eye to the subtle details which set apart exceptional objects. In an age which increasingly confuses information with knowledge and understanding, they are a generous, exciting and refreshing community of people to accompany.

Provenance and the human story behind individual objects or collections add a frisson, which always has an important and positive effect on the prices achieved for them at auction. This has been reflected in Toovey’s sales again and again over the years. The Little Thakeham House Sale, the Bolney Lodge million pound single-owner collection of works of art and furniture, paintings sold for hundreds of thousands and the £520,000 Qianlong period Chinese vase have been just some of the markers which have defined Toovey’s reputation.

Many of the most memorable collections and objects speak of the collectors that form them. Single-owner sales often provide a very personal and particular insight into the lives of the individual collector, such as our 2014 sale of the Library Collection of the late W. Leslie Weller MBE, DL, FSA, which reflected his love of Sussex and his prominent role at Sotheby’s. His friendship, support and advice I always valued highly. In 2015, the collection from Angmering Park House of the 16th Duke of Norfolk’s daughter, the late Baroness Herries of Terregles, reflected the English country house taste which defines us. A number of important single-owner collections auctioned more recently at Toovey’s have included a remarkable group of Chinese porcelain and works of art from London and the collection of the well-known post-war racing driver John Young.

At Toovey’s I and my remarkable team value people before objects and this is given expression not only in the way that we serve people professionally but also in the way that we have always invested our time, money and expertise in the community here in Sussex.

I remain a passionate advocate for building communities through art, heritage and culture which I write about in my weekly column in the West Sussex Gazette and Horsham Gazette. Toovey’s are long-term sponsors of the Shipley Arts Festival, Pallant House Gallery, Sussex Heritage Trust, the wonderful Horsham Museum and Art Gallery, the National Trust at Petworth and many others.

Our company continues to invest in the Sussex community which I love, supporting numerous charities and community groups including Mary How Trust, our local hospices St Barnabas, Chestnut Tree House, St Catherine’s and the Friends of Sussex Hospices, the NSPCC, as well as the WI, U3A and numerous parish churches across the county with talks, professional advice and fund-raising.

We remain a family firm, as we have always been, with family firm values. Our forward looking, dynamic and talented team bridges across the generations and ensures that we remain one of the country’s leading regional auction houses providing a centre of expertise for the valuation and sale of art and antiques with leading specialists and international marketing.

Almost twenty-five years on, I am proud that Toovey’s has fulfilled our hopes and aspirations.

None of this would have been possible, though, without the generous support and encouragement of the collectors, our clients, friends and supporters. On behalf of all of us at Toovey’s, I would like to offer our thanks.

Lost Portrait of Benjamin West Rediscovered

Andrew Robertson’s 1803 portrait of Benjamin West

This week I am in the company of Toovey’s picture specialist and researcher Tim Williams. Tim has just discovered an important portrait of the notable artist Benjamin West (1738-1820) which had been lost for more than 100 years. West’s efforts led to the establishment of the Royal Academy in London and he would become the institution’s second president. The work is a miniature watercolour by Andrew Robertson (1777-1845), one of the pre-eminent portrait miniaturists of the 19th century, and is due to auctioned at Toovey’s on Wednesday 18th March 2020.

Tim Williams explains “Robertson was born in Scotland in 1777 and had studied under Alexander Nasmyth and Henry Raeburn before leaving Scotland for London in 1801 to seek fame and fortune. In a letter to his father in July 1801 Robertson wrote, ‘I shall make London my residence…I may not only make my fortune, but acquire fame in the world.’

Not long after his arrival in London, Robertson made the acquaintance of Benjamin West. West saw that the ambitious Scotsman had great talent, and became something of a mentor and advocate to the young artist, agreeing to sit for a portrait himself.

Robertson began West’s portrait in 1802. West would sit for Robertson on a Sunday morning. In total the portrait took 15 sittings over many months. Robertson wrote to the wealthy London businessman John Julius Angerstein in August, ‘…without any other introduction to Mr. West, he should so far approve of my poor pencil as to think it not beneath him to sit to me, and to sacrifice a very considerable portion of his precious time, for that purpose. I have painted his portrait in the same style as I copied Govartius…’. The composition was strongly influenced by Anthony van Dyck’s portrait of Cornelis van der Geest. At the time it was known as ‘Govartius’ and Angerstein, who owned it, had given Robertson access to copy the picture earlier in 1802.”

Toovey’s picture specialist Tim Williams with Andrew Robertson’s rediscovered portrait of Benjamin West

Tim continues “Once completed Robertson sent his miniature portrait of West for exhibition at the Royal Academy in 1803 where it received much acclaim from visitors and established artists. Robertson wrote to his friend John Ewen, ‘…Mr. West told me himself that I have no idea how it [his portrait] is talked of, and approved, both by artists and others.’ More excitingly for Robertson it was seen by George III. In a letter of 1803, Robertson elaborates. ‘Yesterday the King visited the Exhibition… After the King went into the room where my pictures are, I heard him take notice of them… I heard the King say, ‘Roberts?-aye, Robertson’ …‘Scotchman?’ and a little after-‘beginner’ – this was all I could hear. However, it was enough to afford me no small degree of satisfaction.’

Buoyed by this success, and now in demand, Robertson had a copy of his miniature of Benjamin West engraved in mezzotint by George Dawe in 1804. These mezzotint copies allowed the work to be disseminated widely and enabled people to own a version – particularly since the original was in Benjamin West’s personal collection.”

I ask Tim how the portrait came to be lost and he replies “By 1899 the miniature was recorded being in the possession of Charles Montague Richard Cleeve, agent to the Bayham Abbey estate near Lamberhurst in Kent, and subsequently found its way into the collection of the current vendor’s grandfather by 1960. Regrettably, and often the case with unsigned works, the artist’s name and importance of this work had been forgotten.”

Tim Williams is still inviting entries for Toovey’s next sale of fine paintings which will be held on Wednesday 18th March 2020, and can be contacted by telephoning 01903 891955 or at auctions@tooveys.com.

Shipley Arts Festival at Twenty

Shipley Arts Festival Director Andrew Bernardi with his 1696 Stradivarius at Toovey’s Auctioneers.

I meet up with the Shipley Arts Festival Artistic Director, Andrew Bernardi at Toovey’s Washington auction rooms. Andrew Bernardi is putting the finishing touches to the 2020 Shipley Arts Festival season. This important Sussex music festival is celebrating its 20th anniversary.

I ask Andrew how it all began, he replies “I met Christina Maude and Ginny de Zoete at a Charity Concert at Shipley Parish Church. The idea took shape when we all met up at Gordon Lindsay’s home and the festival was born!”
Andrew explains that 20 years on the festival’s distinctive foundations remain the same saying “At the Shipley Arts Festival’s heart is the inspiration of English music, in particular continuing John Ireland’s tradition of music inspired by Sussex.” The composer John Ireland is famously buried at Shipley. Andrew continues “We continue to commission new music for Sussex and the festival from many of the nation’s leading composers and musicians.”

Commissions and works written for the Shipley Arts Festival have included pieces by Cecilia McDowall, one of one of the country’s leading female composers, Roderick Williams OBE, the English operatic baritone and composer, Malcolm Singer, the former Director of the Yehudi Menuhin School of Music and current Professor of Composition at the Guildhall School of Music and Drama in London, and the late John Lord of Deep Purple.

To mark the festival’s 20th anniversary Andrew and his musicians will be performing a number of Opus 20s by Elgar, Mendelssohn and Chopin, as well as works by Bach, Purcell, Beethoven and John Ireland.

One of the things I most value about the festival is how it remains generous and outward facing supporting our county’s young musicians through its String Academy who, together with Maria Marchant, Fuensanta Zambrana Ruiz, Victoria Greenwood, Jonathan Hennesy Brown, Bruce Martin and Christina Maude, moved us all with Elgar’s Serenade for Strings Op.20 and Bach’s Sonata Movement in C minor at the Sedgwick Park 2020 launch on Sunday evening hosted by Clare Davison.

At the opening Andrew remarked “The festival has exceeded anything we imagined and hoped for at the start. There are so many magical parts to the festival and not least the Churches and great country estates which host our concerts. And all of you for being with us on our journey.”
Andrew, like me, is passionate about building communities through heritage and the arts here in Sussex.

The festival celebrates the local, national and international qualities of our nation and is building an important exchange program with supporters from China and Hong Kong.

Speaking about the festival’s sponsors Andrew says “What we have in common with our sponsors is that we care about people – that’s what we do.”
As the longest standing sponsor of the Shipley Arts Festival I am delighted that Toovey’s and myself remain at the heart of this remarkable celebration of music and community. Together with our fellow sponsors Kreston Reeves, Nyetimber, NFU Mutual, Wakefields and Rossana, we look forward to West Sussex continuing to be at the centre of our nation’s musical life thanks to the determination and talent of Andrew Bernardi.

For more information on the forthcoming Shipley Arts Festival concerts go to www.shipleyartsfestival.co.uk.

Skyscape at Petworth House

Paul Nash (1889-1946), The Sun Descending – Study 3, watercolour and chalk on paper, 1945 © Ashmolean Museum

This week I am visiting Petworth House in West Sussex where their latest exhibition, Skyscape, has just opened. This exhibition showcases the extraordinary breadth of prints, paintings and objects in the Ashmolean’s collections. The show represents a collaborative partnership between the National Trust and the Ashmolean which brings together two great regional collections.

I meet with The National Trust’s Exhibition Assistant at Petworth, Natasha Powell. She is clearly excited to have worked with the Ashmolean on this show.
Speaking about the exhibition Natasha says “The exhibition is chronological and thematic. The prints and paintings date from the 16th century to the present day. They have been chosen for their depictions of the sky in a variety of mediums and techniques. And it’s exciting to see Petworth’s collection anew celebrating the sky rather than the landscape.”
All of us have experienced and understand the wonder of the sky, the fleeting, changing qualities of light, colour and movement.

The Ashmolean’s current major exhibition in Oxford explores Rembrandt van Rijn’s early work. I am pleased to find the etching Three Trees at Petworth. It was produced by Rembrandt in 1643 just a year after Saskia, the love of his life, died giving birth to their son. The combination of etched lines captures the approach of a foreboding sky. In the foreground a man stands fishing on the banks of a river as his wife watches with a picnic. Both are seemingly oblivious to the approaching storm.

Rembrandt van Rijn (1606-1669), The Three Trees, etching, 1643 © Ashmolean Museum

An artist of towering reputation, by the 1630s Rembrandt was highly respected. His fame and reputation as a painter ensured that his prints were seen as originals and not mere reproductions. Contemporary collectors of his prints afforded Rembrandt a freedom of expression which was sometimes lacking amongst the patrons of his paintings.

Paul Nash’s watercolour study The Sun Descending is painted with an immediacy which Turner would have understood. Like Turner Paul Nash worked in Sussex. As an artist Nash returned again and again to the poetry of the English landscape. He sought to look beyond the immediate to what he referred to as the ‘genius loci’, the spirit of the place, to ‘a reality more real’.

Over in the main house I catch up with Andrew Loukes, the National Trust’s House and Collections Manager at Petworth, in the North Gallery. As we re-examine J.M.W. Turner’s skies Andrew says “Very few artists can paint like Turner and get it just right with his sheer virtuosity and ability to look at the world anew.” I am reminded how extraordinary Petworth’s own collections are.
Skyscape allows us to celebrate our shared experience of the sky and offers a fresh perspective.

I am delighted that Toovey’s are once again supporting Petworth House’s exhibition program. Skyscape is a revealing exhibition and runs until 18th March 2020. For more information on the exhibition, to book tickets and for opening times visit www.nationaltrust.org.uk/petworth.

Turner Show Unites Twickenham and Sussex

Sir David Attenborough with exhibition curator and Turner’s House Trustee Andrew Loukes (foreground) © Turner’s House Trust/Anna Kunst.

The Sussex based art historian, Andrew Loukes has once again captured the attention of celebrities, art connoisseurs and critics alike creating a storm of interest with his latest jewel like exhibition ‘Turner and the Thames: Five Paintings’.

The show, which runs at Turner’s House in Twickenham until 29th March 2020, was opened by Sir David Attenborough who said that the house and exhibition was “an extraordinary journey of the imagination…this is a joy.”

Andrew Loukes, who is the National Trust’s House and Collections Manager at Petworth House curated the sell-out exhibition Mr Turner in Sussex back in 2015. Petworth’s collection has many important works by Turner where the artist was the guest of his patron the 3rd Earl of Egremont.

I meet Andrew at Turner’s House for the opening and he says “This is the first time in almost 200 years that Turner’s work has been shown at the house that he designed here in Twickenham.”

The five oil sketches are displayed in the newly opened gallery space. The exhibition marks an important collaboration between Turner’s House, Tate and The Ferryman Project. The works have been chosen for their depictions of scenes close to his house near the river. They feature landscapes painted by Turner between Isleworth and Windsor. Turner’s fascination with the Thames encouraged him to buy a plot of land in Twickenham where he built a retreat for himself and his father in the 1800s. He designed the villa so that he could glimpse the river from his bedroom window. Turner spent a lot of time on the Thames working and fishing.

Although Turner made preparatory sketches and watercolours en plein air he is best known as a studio painter. Andrew Loukes explains that “It is rare in Turner’s work to find oils made on the spot. They were painted in 1805 on a single sketching campaign. Turner rented Sion Ferry House at Isleworth. These oil sketches are some of his most natural fresh work.”
These small oil sketches on mahogany veneered panels are the perfect scale for the intimate gallery setting.

J.M.W. Turner, ‘Sunset on the River’, c.1805, © Tate, London

My eye is taken by an oil titled ‘Sunset on the River’. Andrew comments enthusiastically “It’s so beautiful that this sunset caught Turner’s attention and he captured it so convincingly on this small bit of mahogany [with] a few little brush strokes.”

J.M.W. Turner, ‘Walton Reach’, c.1805, © Tate, London

‘Walton Reach’ is similarly quickly painted, the verticals emphasising the tranquillity of the scene.

The exhibition ‘Turner and the Thames: Five Paintings’ runs until the 29th March 2020 at Turner’s House, 40 Sandycombe Road, Twickenham, TW1 2LR. For more information and to book tickets visit www.turnershouse.org. As Sir David Attenborough said, the house and exhibition are a wonderful journey of the imagination and a joy.